As one who has followed the triumphs and travails of the former Orchestra London for decades, I was really pleased to see its musicians coalesce around a new structure with a new name two days ago. New beginnings are always sweet — but for this ensemble, it must have been doubly so.
London Symphonia has managed a difficult balancing act: It has retained many of its core musicians, added others and reorganized in such a way as to preserve its artistic integrity and attract new support after throwing off the shackles of the organization that closed its doors in late 2014 and dissolved into bankruptcy in mid-2015. According to spokesperson Andrew Chung, London Symphonia already enjoys the support of government arts granting organizations, as well as a dedicated quorum of new and old supporters. That sounds far easier than it is.
I’ve written several columns (you can find samples here and here) over recent years about Orchestra London’s organizational failures and its struggle to battle back from life support to some sort of institutional viability. While the ensemble’s artistry was never in doubt, the former orchestra suffered from poor governance, ineffectual administrative leadership and structural models that were no longer in tune with its marketplace.
The ensemble’s musicians valiantly pursued their craft, post-bankruptcy, through #WePlayOn, which continued to play publicly, often for free, as they tried to find a suitable container for talents and aspirations of its members. London Symphonia is the result.
CTV London covered the new orchestra’s first concert, and London Free Press arts writer James Stewart Reaney provided a fitting column as one of his last acts on staff at the newspaper before his retirement.