By BRIAN FRENCH & LILIA MASON
Something remarkable is happening at the Winston-Salem Symphony, and it’s not just the music. Across the organization, from the executive suite to the podium to the classroom, women are leading with vision, discipline and heart. It’s a moment that feels both historic and, perhaps more importantly, entirely natural.
The symphony recently welcomed Amanda Norman as President and CEO, succeeding Merritt Vale, who led the organization for nearly 30 years. Norman, who previously served as both CFO and Chief Operating Officer, stepped into the role just two months ago and has wasted no time making her presence felt. “Leadership isn’t about the title change; it’s about the responsibility you’re willing to carry,” she says. “We’re standing on nearly eight decades of excellence. My role is to honor that history while making bold decisions for the next generation.”
Her ascent from financial and operational leadership to the top executive role reflects a philosophy she articulates with characteristic precision. “Operational leadership teaches you discipline. Executive leadership asks you to pair that discipline with imagination.”
On the podium, Music Director Michelle Merrill is making history of her own – the first woman to hold the position at a professional orchestra in North Carolina. She recently extended her initial contract, a strong vote of confidence from the board. Her vision for the symphony is expansive. “My goal is to build upon the orchestra’s legacy by helping it grow in ways that feel vibrant and relevant for our community – programming that spans a wide range of styles, pairs classical masterworks with contemporary voices and highlights the incredible artistry of our own musicians,” Merrill remarks. “We’re also in an exciting moment of renewal. After a long pause in auditions due in part to the pandemic, many outstanding new players have joined, bringing fresh energy and perspective to the ensemble.”
That spirit of renewal runs through every corner of the organization. In education and philanthropy – two of the symphony’s most community-facing pillars – women hold every leadership position.
VP of Education and Engagement Rachel Watson, formerly a public school music educator, brings a deeply personal mission. “Our education programs are not an add-on; they are a strategic investment in our community’s future.”
That investment takes vivid shape through a large and prosperous Youth Orchestras Program, and through P.L.A.Y. Music, the symphony’s El Sistema-based strings program in Title One elementary schools. Program Director Alexis Prescott-Polk remarks, “Through P.L.A.Y., we are building meaningful pathways into orchestral music for students who might not otherwise have access – and witnessing them grow not only as musicians, but as confident young people who feel a true sense of belonging, as well. Education is where sustainability begins.”
On stage, the season reflects the same spirit. Most guest artists this year have been women. Coming performances feature principal flutist Kathryn Levy as concerto soloist; vocalist Storm Large in Kurt Weill’s The Seven Deadly Sins; and North Carolina Poet Laureate Jaki Shelton Green reading the poetry of Maya Angelou set to music.
It’s a cultural shift felt at every level – including by those just beginning their careers. Patron Loyalty Manager Kayla Bull meets this shift with enthusiasm. “Being mentored by women who lead with such excellence reminds me that I am supported and capable of success in our field.”
Merrill, for her part, speaks for the whole team when she reflects on what this moment means: “It’s especially meaningful to be part of a leadership team with so many strong women helping guide the organization forward. Together, we’re building an orchestra that honors its tradition while embracing a dynamic future.”
At the Winston-Salem Symphony, this isn’t a moment. It’s a movement.
