William Ford | 4 DEC 2024
As the new executive director of the Albany Symphony in Albany, New York, Emily Fritz-Endres is making waves in the symphony orchestra world. With an impressive background, including roles at the Boston and Atlanta Symphony Orchestras, she is redefining leadership in the arts sector.
Fritz-Endres’s time in Atlanta was particularly formative, as she participated in an innovative two-year executive management fellowship under the guidance of Jennifer Barlament, executive director of the ASO. Her work in Atlanta not only honed her leadership skills but also deepened her understanding of how orchestras can connect meaningfully with their communities. She contributed to key initiatives such as the Talent Development Program, which celebrated its 30th anniversary during her tenure and supported efforts to foster diversity and inclusion within the orchestra.
Now at the Albany Symphony, Fritz-Endres is poised to guide the organization toward its 100th anniversary in 2030.
The following conversation between Emily Fritz-Endres and Atlanta music critic William Ford provides a unique glimpse into the future of orchestral management and music’s profound impact on our communities. The transcribed excerpt below is edited for clarity and length; the longer video from which it is drawn is embedded below it.
William Ford: Talk about your experience with the Atlanta Symphony Orchestra.
Emily Fritz-Endres: After eight years with the Boston Symphony and earning my MBA, I felt ready for a change. While there’s great value in deeply understanding one organization, especially one as complex and dynamic as the Boston Symphony, I wanted to broaden my perspective. I felt that experiencing different orchestras and seeing how they tackle challenges and embrace service to their communities in various parts of the country would help me become a more creative and effective leader. So, I went to Atlanta for a two-year executive management fellowship.
This fellowship was originally founded by the League of American Orchestras which provides advocacy, professional development, and training for orchestras across the U.S. In the past, the League offered a fellowship program to mid-career professionals, placing them in orchestras nationwide to prepare them for the CEO job. Although the League has since shifted its focus, Jennifer Barlament, the Executive Director of the Atlanta Symphony, an alumna of this program, wanted to provide a management fellowship specific to the Atlanta Symphony. Her vision was to create a learning laboratory for emerging leaders, where they could engage in practical, hands-on experiences across the organization while contributing their expertise.
For two years, I’m honored to have worked directly with Jennifer and her team, and with Nathalie Stutzmann and the musicians, participating in practicums across every department. This approach allowed me to understand how the Atlanta Symphony operated uniquely and how it differed from Boston. I’m incredibly grateful to Jennifer and everyone at the ASO for supporting me in this role, providing mentorship, and fostering a dynamic, adaptable learning environment. This experience was invaluable in preparing me to my first executive director role, now at the Albany Symphony in New York.
WF: How was Atlanta different from Boston?
EFE: One aspect I loved about Atlanta was the orchestra’s commitment to reflecting its community, embracing its diversity, and engaging deeply with the Black community—a defining part of Atlanta’s identity. During my time there, I had the chance to work on programs unique to Atlanta, such as the Talent Development Program. This program serves 25 middle and high school students, all Black or Latine, offering them lessons, mentorship, and masterclasses, preparing them for careers in music. Seeing their growth and how they shape the future of orchestra music was incredibly inspiring. Celebrating the program’s 30th anniversary last year underscored its legacy and impact in increasing racial representation within American orchestras. This program stands as a model for other orchestras that seek to advance diversity and inclusion within their institutions.
WF: I’ve lived in various cities, but I’ve never seen a facility as actively used as the Memorial Arts Building at the Arts Center — it’s a true community hub.
EFE: Absolutely, that’s one of the standout aspects of the Atlanta Symphony’s home. The Woodruff Arts Center is a flexible, multipurpose space that presents an array of artistic genres, drawing in diverse audiences. This commitment to variety and accessibility means that new audiences are constantly discovering the arts center, attending events that resonate with them, beyond the traditional orchestra programming.
This diversity in programming does more than just engage the community; it also strengthens the Symphony’s financial model. With ticket sales forming a significant part of the Atlanta Symphony’s revenue, this income has been key to its financial health, allowing the orchestra to maintain financial balance for over a decade — a feat achieved by few American orchestras.
WF: Thanks, Emily! ■
Watch a video of the complete interview EXTERNAL LINKS:
- Albany Symphony (NY): albanysymphony.com
Read more by William Ford.
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