María H. Jaén
Paula Liliana Rozo
Universidad de los Andes Colombia
Since her appointment as General Manager of The National Symphony Orchestra of Colombia, Claudia Franco focused on its commercial management. She managed to increase the revenue of the Orchestra through an ambitious commercial agenda that involved concerts with famous artists, chamber concerts, recordings and movie soundtracks. Claudia counted on the musician’s commitment and disposition to accomplish all the activities aimed at positioning the Orchestra in Colombia and abroad, while acknowledging they did not have an exclusivity contract. In fact, many of them were hired on a temporary basis and the majority had side jobs to complement their earnings. Given the budget cuts announced by the government at the time, Mariana -the Minister of Culture- requested the implementation of a performance management system for the Orchestra. She considered performance information crucial to make decisions regarding musicians’ hiring and salary. Cost containment and organizational efficiency were her main priorities. Musicians, on the other hand, were reluctant to commit to key performance indicators, as they believed that difficult auditions, rehearsals, and live concerts were enough evidence of their artistic performance and commitment to the National Symphony Orchestra. Claudia was in the middle of a struggle: she knew that 80% of the Orchestra’s budget came from the Ministry, and not complying with the Ministry’s demands could imply a significant reduction of the budget allocation. On the other hand, she needed musicians on board to execute her agenda. What alternatives did she have, and how did she deal with the stakeholders’ conflicting demands?