From Prima Donna on Stage to Busier Manager Behind the Scenes

Interview with Choi Jeongsuk, CEO of the National Symphony Orchestra
700% Sponsorship Growth and 68% Increase in Paid Members One Year After Appointment
"We Will Present Various Stages to Broaden the Audience's Appreciation Horizons"

[Asia Economy Reporter Kim Heeyoon] “A theater is a kind of tomb. Although the theater is divided into the audience seats and the stage, at some point, the audience seats also feel like part of the stage. For example, when sitting in the center or front seats, there is a fear as if a gigantic eye called the stage or screen is watching this space. Even in the audience seats, the acting of life continues. The stage and screen do not represent part of life, but rather perform a world beyond life.”

Choi Jeong-sook, Representative of the National Symphony Orchestra / Photo by Younghan Heo younghan@

In the book Lovers of Place, literary critic Lee Kwangho described the theater stage as a space of the afterlife and a world beyond life. The past year of Choi Jeongsook, CEO of the National Symphony Orchestra, who transformed from a prima donna on stage to a manager leading the orchestra below the stage, carries the weight of challenges traveling between the afterlife and the present world embraced by the theater. Her voice, which never rested even on stage, is always hoarse by the end of the day due to continuous meetings, fundraising, and discussions, as she dedicates herself to improving the orchestra’s environment.

In her first year as CEO, after taking charge of the orchestra, the sponsorship association grew by 700% compared to the previous year, and paid memberships increased by 67.98%. Ticket revenue rose by 52.62%, showing remarkable achievements. With the goal of building the best environment for the 38-year-old orchestra to present diverse programs closer to the public, she continues to move forward quietly even at this moment. The following is a Q&A with CEO Choi.

- How do you feel on the occasion of your first anniversary in office?

▲ I was appointed on January 11 last year, and within a week, we held the New Year’s concert. While diligently understanding the work, the orchestra’s name changed from Korean Symphony Orchestra to National Symphony Orchestra in March, so I had a busy time. With the word “National” explicitly included in the orchestra’s name, our identity has strengthened, but I also feel a heavier sense of responsibility.

- You said you would focus on strengthening capabilities to match the status of a national organization.

▲ First, I started by listening to internal opinions within the orchestra. I interviewed each member and directly listened to the difficulties of each section, focusing on expanding communication. Since the orchestra, which performs over 100 concerts a year, has 74 members, accumulated fatigue was indescribable. To alleviate this, we launched a member-centered management committee to gather opinions on issues such as staffing. Sharing actual administrative matters and exchanging mutual opinions made the year pass quickly. Based on this, I have been meeting policymakers, visiting members of the National Assembly, and seeking sponsoring companies to improve the orchestra’s environment through various activities.

2022 KNSO National Orchestra Davit Ryland Artistic Director Inaugural Concert
[Photo by National Symphony Orchestra]

- At the time of your appointment, there were concerns about having a vocalist as the orchestra’s CEO.

▲ Until then, the position was held by administrators, so there were some concerns about a vocalist taking the lead. However, as an opera professional, the orchestra was always a lifelong companion and a competitor to overcome. On stage, I had a strong desire to overcome the orchestra’s sound and deliver my voice to the audience. After about 13 years as a choir member, I gradually came to accept music as a partner creating melodies together through understanding, trust, and concession rather than winning or losing on stage. Through that experience, I understood the subtle gap between members and management better than anyone else, so I could sensitively catch the fatigue and difficulties of the members today. Also, my experience planning performances and standing on stage helped me understand how crucial ticket sales are, which became the driving force behind pursuing various projects such as revenue diversification from a managerial perspective.

- Last year, artistic director Davit Ryland’s performance stood out.

▲ Ryland is truly a “beautiful person,” I want to say. His deep love for Korean culture and his wide-ranging interests beyond music, including art and philosophy, captivate me every time we talk. (laughs) During the planning of this year’s season program, Ryland proposed Romeo and Juliet, suggesting that we convey the value of pure love beyond hostility and anger to those of us living through the great changes caused by the pandemic and war. We plan to present this work, which has inspired countless artists’ creativity, through the three distinct versions by Berlioz, Prokofiev, and Tchaikovsky this year. This project, which allows comparison of the musical personalities of the three composers, is expected to broaden the audience’s appreciation horizon.

Choi Jeong-sook, CEO of the National Symphony Orchestra, posed on the office terrace overlooking the concert hall at the Seoul Arts Center Music Hall. Photo by Heo Young-han younghan@

- Which works do you highlight in this year’s program?

▲ It’s hard to pick just one, as all eight stages and 24 programs are attractive without exception. In addition to the aforementioned Romeo and Juliet, we focused on a broad range of programs that appeal to both the general public and enthusiasts. We plan to perform Beethoven’s Symphony No. 5 “Fate,” ranked 10th among classical music loved by Koreans in 2021, Chopin’s Piano Concerto No. 2, which was used as background music in the film Assassination, and Brahms’ Violin Concerto, one of the world’s top three violin concertos, commemorating Brahms’ 190th birthday. Especially, we aim to present Dvo??k’s Symphony No. 6, Elgar’s “Soliloquy for Oboe and Orchestra,” and Khachaturian’s Violin Concerto, which are rarely performed live in Korea, on stage this year.

- Could you introduce the vision and plans of the National Symphony Orchestra for this year?

▲ At the end of last year, we created a new revenue source through a video content contract. Although video content gained attention due to COVID-19, we plan to continue focusing on this area in the future. The conductor workshop and resident composer system, which were successfully operated for the first time last year, will be expanded this year to actively support the discovery and growth of young musicians. In particular, the International Orchestra Academy has established itself as an “orchestra academy,” attracting 109 promising classical musicians from 29 countries including France and the United States. We plan to operate an in-depth program that not only strengthens ensemble skills but also imparts business know-how outside the stage that cannot be learned anywhere else.

This content was produced with the assistance of AI translation services.