Fogel’s Maneuver
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Fogel’s announcement struck CSO musicians as a peculiar development at the very least, and speculation as to his reasons was rampant. Late last week, as the orchestra prepared to leave on a tour of the east coast and Europe, Fogel issued a terse “no comment” when asked through a spokeswoman about his decision to sit out the talks. Trustees beyond the executive committee’s inner circle apparently weren’t informed of Fogel’s decision. “It’s like a Chinese fire drill over there [at Orchestra Hall] at the moment,” said one CSO trustee. CSO musician Steve Lester, a member of the musicians’ negotiating team, said only that “it’s going to make for a very different atmosphere at the bargaining table.”
No one seems to believe that Fogel’s latest move necessarily portends his imminent departure, though observers say he’s under a great deal of pressure on a number of fronts. He is trying to raise approximately $100 million for Orchestra Hall’s upcoming expansion and renovation, a project that has taken a number of twists and turns since its first incarnation, Fogel’s campaign several years ago for a new performing arts center to house both the CSO and Lyric Opera. In addition, he’s trying to balance the orchestra’s sizable annual budget and develop new audiences in the midst of continuing negative publicity over Daniel Barenboim. An article in last Sunday’s New York Times by Reader contributor Bryan Miller on the eve of the CSO’s arrival there once again found Fogel in the uncomfortable role of defending his selection of Barenboim to succeed Sir Georg Solti.
