Curtis_AnnualReport_Fall2017_RevisedSept19

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A N N UA L
R E P O R T
C U R T I S I N S T I T UTE O F MUSIC

2
STRATEGIC DIRECTION
At the close of a very successful 2016–17, the Curtis Institute
of Music is pleased to share some of the highlights of a year in which
we made great progress toward fulfilling the goals of a bold strategic
direction, established by our board of trustees two years ago.
is strategic direction is intended to guide us as we approach our 100-year
anniversary in 2024. e plan articulates clear ten-year goals to help us meet—
and exceed—the demands of the future, structured around five strategic focus
areas. Our progress toward these goals in 2016–17, the second year of plan
implementation, is outlined in the following pages.
plan articulates
‘‘e
clear ten-year goals to
help us meet—and
exceed—the demands
’’
of the future.
At the outset of the year we focused on some key priorities:
n creating an infrastructure, both financial and technological, to support
Curtis’s expanding reach and influence around the world;
n making important decisions about key artistic programs in conducting,
orchestral studies, and opera, as well as online courses;
n reviewing and revising the structure of our governing and advisory bodies;
n positioning Curtis as a global thought leader in arts education; and
n addressing the school’s physical infrastructure and human capital needs.
ese priorities are reflected in the progress we’ve made in the second year
of the plan, detailed on pages 4 through 7 of this report. In particular, we are
ever mindful of the importance of maintaining our world-class faculty and the
exceptional quality of our student body. Our efforts will continue with renewed
energy in the coming year, sustained by the continued fiscal stability we
experienced in the 2016–17 school year (see page 3).
As we reflect on the accomplishments of the past year and set our course for the
year ahead, we are inspired by our wonderful young students and buoyed by the
guidance of our trustees, the support of our many generous donors, the dedication
of our faculty, and the commitment of our staff. We are thankful for all that they
offer to this unique institution.
With tremendous gratitude,
A complete list of
donors to Curtis is at
Curtis.edu/AnnualReport.
Mark Rubenstein
Chair
Board of Trustees
Roberto Díaz
President and CEO
Nina von Maltzahn President’s Chair
James and Betty Matarese Chair in Viola Studies

ANNUAL REPORT 2016–17 3
FINANCIAL SUMMARY 2016–17
PRELIMINARY PRE-AUDIT FIGURES
Combined endowments of the Curtis Institute of Music and the Mary Louise Curtis Bok Foundation (as of May 31, 2017):
$235,798,000
EARNED REVENUE 19%
OPERATING REVENUES
TOTAL $20,583,000
DRAW FROM ENDOWMENT 56%
CONTRIBUTED REVENUE 25%
When available, audited financial
statements will be posted at
Curtis.edu/AnnualReport.
INSTITUTIONAL COSTS 25%
INSTRUCTIONAL AND PROGRAM COSTS 43%
OPERATING EXPENSES
TOTAL $20,268,000
PHYSICAL PLANT / MAINTENANCE 17%
STUDENT SERVICES AND FINANCIAL AID 15%
In addition to the above operating expenses, the institution spent $315,000, net of capital-restricted support
received, on capital expenditures in fiscal year 2017, including renovations and major repairs to facilities and
purchases of instruments, information technology, and audio-visual equipment.

4
STRATEGIC DIRECTION
MILESTONES 2016–17
During the 2016–17 school year Curtis made significant progress toward goals in all areas of its strategic direction.
ALUMNI
4,177
MUSICIANS HAVE
GRADUATED FROM CURTIS
SINCE ITS FOUNDING.
OF THESE,
2,808
LIVING ALUMNI
RESIDE IN
46
STATES
(PLUS WASHINGTON, D.C.,
AND PUERTO RICO)
AND
38
COUNTRIES
CURTIS MUSICIAN LIFE CYCLE
IN 2016-17 GOAL
Curtis will expand its focus and attend to every aspect of the musician life
cycle—from entering Curtis, through the student experience, to alumni life
after Curtis—to create a global, networked organization of engaged lifelong
learners and leaders.
n
n
n
Curtis launched a flexible, volunteer-driven alumni network, providing opportunities for
alumni to connect with one another, mentor current students, tell their stories, and share
valuable feedback with the school.
A formalized and deepened relationship with Opera Philadelphia started to take shape,
aimed at creating ongoing professional opportunities for graduating Curtis singers.
rough a multi-year advancement grant from e Pew Center for Arts & Heritage,
Curtis embarked on a longitudinal study of the direct effect its artist-citizen curriculum
is having on students and, by extension, the greater Philadelphia community.
‘‘
the opportunity to work with graduates from all walks
of life to showcase the diversity and accomplishment
of the greater Curtis family.
’’—William Short (Bassoon ’10)
ALUMNI NETWORK
I’m very excited to join the alumni network executive
committee as the storytellers project leader! Alumni are a
vital component of Curtis’s ongoing story, and I welcome
OPERA
Since its inception, the Emerging Artists Program
at Opera Philadelphia has chosen the majority of
its participants from Curtis students and alumni.
In 2016–17 these emerging artists included:
n
n
n
n
Johnathan McCullough (Opera ’17), baritone
Ashley Milanese (Opera), soprano
Thomas Shivone (Opera ’16), bass-baritone
Anastasiia Sidorova (Voice), mezzo-soprano
Learn more about
Curtis alumni and
the alumni network
at Curtis.edu/Alumni.
‘‘
I don’t just want to study acting out of a book in a classroom.
’’
… It’s so much more useful to do it in the context of real opera directing.
—Anastasiia Sidorova (Voice), mezzo-soprano and emerging artist at Opera Philadelphia

ANNUAL REPORT 2016–17 5
GLOBAL MUSICAL COMMUNITY
IN 2016-17 GOAL
Curtis will look beyond its Philadelphia campus, broadening its reach
and impact to attract gifted students from all corners of the world, and
expanding its base of support by sharing its excellence with local and
global musical communities.
n
n
n
In the most ambitious Curtis on Tour initiative to date, the Curtis Symphony
Orchestra toured nine European cities in eighteen days, garnering enthusiastic reviews
and strengthening international relationships.
Discovery work toward the consolidation of Curtis’s multiple websites was completed,
in preparation for the design of a more engaging, user-friendly, and interactive
Curtis.edu reaching local and global constituents.
Curtis continued to actively engage trustee candidates to add geographic, racial,
and professional diversity to its board.
STUDENTS
174
YOUNG MUSICIANS
FROM
32
STATES
AND
22
COUNTRIES
Read reviews from
the European tour at
Curtis.edu/TourPress.
‘‘ in Berlin, we were always left wondering, ‘Is there
CURTIS ON TOUR
From the vast yet charming paths of Helsinki
to the jaw-dropping beauty of the Konzerthaus
really something more beautiful?’ I have come
to learn that indeed, there always is. ... How lucky
we are, to have been to all of these places, to have
worked with such artists, such soldiers of music!
—Maria Ioudenitch (Violin), concertmaster of the
’’
Curtis Symphony Orchestra during its 2017 European tour
CURTIS SYMPHONY
ORCHESTRA ON
TOUR IN EUROPE
London
Bremen
Dresden
Salzburg
Helsinki
Berlin
Wrocław
Lusławice
Vienna
‘‘
I asked of them regarding sound and interpretation immediately. eir work ethic was equal to those at a professional
level and their enthusiasm to play was unparalleled. All nine concerts were played incredibly well without exception,
and the students showed everyone what a phenomenal school the Curtis Institute is. All of this combined is a real
’’
dream come true for a conductor, and I am grateful that I had a chance to be involved with this wonderful project!
—Osmo Vänskä, conductor for the Curtis Symphony Orchestra’s European tour
e tour was planned extremely well; the programs and all of the soloists were brilliant and the concerts took place
in very important cities throughout Europe. e orchestra members (and their coaches!) had done a great job with the
preparation, so they sounded excellent from the very beginning of the rehearsal process and were able to do everything

6
STRATEGIC DIRECTION
LEARN BY DOING
200+
PERFORMANCES
96
FREE STUDENT RECITALS
FACULTY : STUDENT
RATIO
103:174
FACULTY : STUDENTS
IMPACT OF COMMUNITY
SERVICE PROJECTS
1,500
16
INDIVIDUALS REACHED AT
COMMUNITY INSTITUTIONS
Learn about Curtis's
community engagement
curriculum and activities
at Curtis.edu/Community.
PROGRAMS, TEACHING MODEL,
AND EXPERIENTIAL LEARNING
IN 2016-17 GOAL
Curtis will ensure that its special performance faculty-student relationship
continues, and will enhance its curriculum and teaching model. Its students
will have rich opportunities to develop musically and academically, as artists
of the very highest caliber and as artist-citizens who are well-prepared to
thrive as 21st-century musicians.
n
n
n
n
Mentor conductor Yannick Nézet-Séguin deepened his involvement with the Curtis
orchestral program, visiting more frequently and communicating closely with Curtis
deans and faculty on specific feedback for the different sections of the orchestra.
A faculty-led Education Task Force developed recommendations and an action plan
to enhance the learning experience of students.
As part of the self-study process toward re-accreditation by the Middle States Commission
on Higher Education, seven working groups of faculty, students, and staff explored
learning outcomes for students in all departments and curricula.
Curtis students and alumni were involved in community-service projects at hospitals,
schools, prisons, and other sites throughout the Philadelphia area.
‘‘
and the other, is the ability to communicate something vital. at’s why we still
play music. We want people to feel it, cry with it, laugh with it, reflect, mourn, hope,
dream, and all this comes from the human heart.
’’
—Yannick Nézet-Séguin, mentor conductor
ORCHESTRA TRAINING
ere are many facets to being in an orchestra. You need to listen to the others,
to blend, to be note-perfect, to quickly master things. But at the end of the day what
makes the difference between this musician and that one, between this orchestra
rough my CAP project, I wanted to help develop and celebrate the musicianship—
and the humanity—of a group of talented, incarcerated artists. … I’ve gotten to know
’’
25 unique, imaginative, and gifted individuals who compose and play music inside
a vast prison complex enclosed by a 30-foot wall.
—Emily Cooley (Composition ’17)
‘‘COMMUNITY ARTIST PROGRAM (CAP)

ANNUAL REPORT 2016–17 7
FINANCIAL FUTURE
IN 2016-17 GOAL
Curtis will ensure that the institution has a stable and sustainable financial
future, providing merit-based, full-tuition scholarships for all students
and competitive student financial assistance for living expenses, as well
as funding to realize the ambitious goals of the strategic direction.
n Support for the Curtis Annual Fund totaled more than $4.25 million from 2,409
contributors—a 9 percent increase over the previous year—spurred by a Chairman’s
Challenge that provided a special incentive for donors to make new and additional gifts.
n With more than $75 million in contributions committed since fiscal year 2014,
Curtis continued its efforts to double the endowment through outright gifts and bequests.
n
Ticket pricing and subscription models were restructured in order to maximize this revenue
stream in the coming year and beyond.
TUITION GRANTS
CURTIS PROVIDES MERIT-BASED,
FULL-TUITION SCHOLARSHIPS
TO ALL OF ITS STUDENTS,
WITH A VALUE OF
$42,320
PER UNDERGRADUATE
STUDENT
AND
$52,548
PER GRADUATE STUDENT
ORGANIZATIONAL STRUCTURE
IN 2016-17 GOAL
Curtis will design an organizational structure to support the strategic
direction and fulfill its bold intentions. Like the strategic direction,
the organizational structure will be dynamic and flexible, able to adapt
to opportunities and challenges in real time.
n
n
n
A cross-departmental task force laid the groundwork for streamlining the internal
digital systems used daily by students, faculty, and staff.
Standing committees of the board of trustees strategically recruited non-trustees with
relevant expertise.
New-employee orientation and staff communications were enhanced to more
immediately integrate new hires into the Curtis family.
View Curtis’s
2016–17 supporters at
Curtis.edu/AnnualReport.

BOARD OF TRUSTEES OF THE CURTIS INSTITUTE OF MUSIC
2016–17
as of May 31, 2017
Mark E. Rubenstein, chair
Edward A. Montgomery Jr., vice chair
Anthony B. Creamer III, vice chair
Deborah M. Fretz, vice chair
Nina Baroness von Maltzahn,
honorary chair
H. F. “Gerry” Lenfest,
chairman emeritus
Nina Albert
Frank S. Bayley
Victoria Bok
William R. Brody
Pauline Candaux, Friends trustee
Mia Chung
Roberto Díaz
Gordon Fowler
Bruce Jay Gould, M.D.
Jennifer Higdon
Linda E. Johnson
Harry T. Lee
Lisa Liem
Sueyun P. Locks
Betty H. Matarese
John H. McFadden
Frank J. Mechura
John J. Medveckis
Jennifer Montone
Robert H. Mundheim
Roy Neff
C. Richard Neu
Eric Owens
William H. Roberts
Robert H. Rock
Brett Rubinson
Chiona Schwarz
Samuel R. Shipley III
William R. Stensrud
Stanford ompson, alumni trustee
Jay H. Tolson
Elizabeth Vale
Dean Vetsikas, Crescendo Club trustee
Penelope P. Watkins
Larry Bomback, treasurer
Cynthia Heininger, secretary
HONORARY TRUSTEES
A. Margaret “Stormy” Bok
Milton L. Rock, Ph.D.
TRUSTEES EMERITI
Peter A. Benoliel
Sheldon M. Bonovitz
Luther W. Brady, M.D.
Carolyn S. Burger
Joseph M. Field
Alan R. Hirsig
Scott M. Jenkins
Bobby Ellen Kimbel, Ph.D.
James R. “Robin” Ledwith
Bong S. Lee, M.D.
Christina Weiss Lurie
John A. Nyheim
Albert E. Piscopo
Robert Pollack
Amanda W. Smoot
MARY LOUISE CURTIS BOK FOUNDATION BOARD OF DIRECTORS
2016–17
as of May 31, 2017
Samuel R. Shipley III, president
Victoria Bok, vice president
Joseph M. Field, secretary
Bayard R. Fiechter, treasurer
A. Margaret “Stormy” Bok
Gary Graffman
Scott M. Jenkins
James R. “Robin” Ledwith
Milton L. Rock, Ph.D.