Deborah Card understands the meaning of loyalty. That’s why she starts every morning off with a triple grande nonfat latte from Starbucks and it’s not just because she’s a brand name caffeine slave like the rest of us (more later). Now as the director of The Chicago Symphony she’s loyal to the city’s rich cultural history and the symphony’s glamorous role in fulfilling the artistic curiosity of the modern concert-goer. Since coming to the Windy City, Card has been instrumental in not only revitalizing the budget, but she has
recharged the administrative and musical personnel resulting in the creation of a healthier internal dialogue within the organization and the cultivation of a more dynamic relationship with the audience. The musicians are playing more often and they’re selling out when they do. But it’s not always a glamorous job.

A true superwoman of the arts world, not only does Card manage the symphony, but she also oversees the day to day operations of the Chicago Symphony Chorus, the Chicago Symphony Singers, Symphony Center Presents and the Symphony Center facility. In managing such a multi-pronged organization, Card and her staff adhere to a four priority approach that includes maintaining artistic excellence and preeminence, audience development, offering superb educational components and financial stabilization. With these initiatives in place she focuses on a more personal goal of connecting with communities. When asked how women are faring in the world of arts management, Card admits that there has been progress but that they should “continue to succeed while supporting one another, put ourselves out there and compete on the big stages, and not apologize for what we bring to the table” as females in the business.

But even with her “no apologies” attitude, one gets the sense that Card is a woman who understands the importance of humility and the power of collaboration. When replacing Barenboim, the new president became excited about the novel idea that the planning of the season’s programming could indeed be a collaborative effort. Card’s own creative choices are partnered with those of the highly esteemed Principal Conductor Bernard Haitink and their Principal Guest Conductor and living legend of Contemporary Classical music, Pierre Boulez. Add to that the innovations of two leading international composers-in-residence (Osvaldo Golijov and Mark-Anthony Turnage) and you get an incomparable season that is sure to strike a chord with increasingly diverse Chicago audiences.

Unlike today’s numerous arts management programs, Card went to school in an era where arts management wasn’t taught but rather learned the hard way in real time, in front of the audience with no sheet music in front of you. Any programs that did exist only catered to the mundane realities of running a non-profit in general and Card “wanted to learn much more than how to write a grant”. While she of course picked up a few things from USC’s Marshall School of Business, Card credits much of her savvy to the hand