S. F. Conservatory buys agency
In a maneuver more reminiscent of the world of corporate mergers than classical music, the San Francisco Conservatory of Music is set to acquire Opus 3 Artists, the internationally prominent management firm.
The deal — the first of its kind, according to the Conservatory — was made possible by a financial investment from an anonymous donor.
“We will now be the only conservatory in the world with its own management company,” President David H. Stull told The Chronicle in a phone interview. “This will present a range of opportunities for the Conservatory while allowing Opus 3 to continue to operate as they have been.”
Under the terms of the agreement, which is effective immediately, Opus 3 will continue to operate as an independent, forprofit corporation under the leadership of President and CEO David V. Foster, while Stull will chair a management team overseeing the alliance between the two entities.
Stull declined to divulge either the
“We will now be the only conservatory in the world with its own management company.” David H. Stull, president of S. F. Conservatory
source or the size of the donation that had made the acquisition possible.
Opus 3, known until 2006 as ICM Artists, traces its lineage to the organization of the renowned 20th century impresario Sol Hurok. It maintains a roster of more than 150 artists, ranging from conductor Teddy Abrams to pianist Krystian Zimerman; among the artists it represents are cellist YoYo Ma, vocalist Patti LuPone and conductor Donald Runnicles, the former music director of the San Francisco Opera.
The coronavirus pandemic, which has impeded or eliminated live performances around the world, has created a difficult economic environment for artistic management firms. In August, Columbia Artists Management Inc., one of the premier such companies in the classical world, ceased operations after 90 years.
“The economics of the industry has changed, and we need these organizations to exist,” Stull said. “We have an interest in ensuring that there’s a pipeline for young artists who come out of the Conservatory.”
Plans for the partnership include an array of collaborations between Opus 3 artists and the school. Those include recording and commissioning projects, extended San Francisco residencies for artists and the opportunities for students to work with a range of artists already established in their careers.
Stull said he also envisions enlisting performing artists as advocates for the support of music education in the schools.
In a statement, Foster called the move “a triumph of new thinking and possibility for the future at a critical time in the performing arts. Thoughtful and imaginative collaboration is the currency of success for our common future.”
The acquisition coincides with the opening this month of the Ute and William K. Bowes Jr. Center for Performing Arts, the Conservatory’s new 12story residence and performance building on Van Ness Avenue.
Maintaining a direct connection to a stable of performing artists, Stull said, will help educators keep abreast of the realities of musical life.
“The greatest enemy to success in this field is not knowing the difference between doing something because it’s important and doing it because that’s the way it’s always been done,” Stull said.
“Having a management company means that we have a constant feedback loop on where music is — who is successful, why they’re successful, what kinds of performances have a market. Having access to that information in real time is invaluable.”