A case for community
In the ever-evolving world of the performing arts, few leaders embody the spirit of community like Suzanne Davidson, the Executive Director of the Chamber Music Society of Lincoln Center (CMS). With an illustrious career that began in law and traversed through theatre, television and even the record industry, Davidson brings a wealth of experience—and a palpable warmth—to her role at one of the world’s most revered chamber music organisations. By Juliette Barber
In the ever-evolving world of the performing arts, few leaders embody the spirit of community like Suzanne Davidson, the Executive Director of the Chamber Music Society of Lincoln Center (CMS). With an illustrious career that began in law and traversed through theatre, television and even the record industry, Davidson brings a wealth of experience—and a palpable warmth—to her role at one of the world’s most revered chamber music organisations. By Juliette Barber
Suzanne Davidson’s journey to become Executive Director of the Chamber Music Society of Lincoln Center (CMS) is as vibrant and multifaceted as the music it champions. With a background in law and a career spanning television, theatre and film, Davidson’s path to CMS may seem unexpected—but it’s precisely this eclectic experience that shaped her visionary leadership.
“I started as a lawyer,” she recalls. “That brought me over to work for the producer of Saturday Night Fever, and I got to be involved in the record business, television, motion pictures and eventually, producing theatre.” These experiences, while seemingly disparate, honed her problem-solving skills and gave her a unique perspective suited to the multifaceted demands of leading CMS.
“When I interviewed for this job, I was asked why I thought I would be a good fit, given I didn’t have chamber music chops,” Davidson says with a laugh. “I believe coming in without preconceptions was a huge advantage. I was able to bring solutions from different areas that might not have been thought of otherwise.”
Eleven years into her tenure, Davidson reflects on her role with an unmistakable sense of pride and gratitude: “This is
the best job I’ve ever had. The most extraordinary artists
[130 of the finest musicians perform with CMS every season], the nicest people, and total passion for the mission—it all built to this. This is the only place I’ve ever been where every concert is exquisite, no exceptions.”
Davidson’s leadership style is hands-on, community-focused and deeply personal. From greeting concertgoers at Lincoln Center to engaging in lively conversations with staff in the office kitchen, she ensures that CMS feels like a family. “I probably know between 25 and 50 per cent of the audience at any given performance,” she shares. “It’s important to be present and to foster that sense of community.”
Even during the pandemic, when physical gatherings were impossible, Davidson maintained these connections. “I tried to check in for a social conversation with colleagues on Zoom, but it’s not the same as a casual ‘Hello’ in the office,” she admits. “The kitchen really is the centre of the world here. People bring in sweets, and musicians pop in—it’s where you find out what’s going on.”
Davidson’s vision for CMS is expansive yet grounded. At its core is a commitment to community—both within the organisation and among its audience. “Chamber music is an intimate art form,” she explains. “It’s about supporting the Artistic Directors, each other and working together.”
This ethos is evident in CMS’s self-produced residencies, a bold pilot initiative launched in 2023. One of the exciting possibilities is the residency at Vero Beach. “We decided to produce ourselves rather than rely on external producers,” Davidson explains. “It ensures performance opportunities for the artists and allows us to build deeper connections with local communities.” The logistics are challenging, but Davidson’s enthusiasm never wanes: “I went to each concert in Vero—it’s a 23-hour round trip visit, but it’s worth it. We sold out the first concert and have been fuelled by that success ever since. It’s been fantastic.”
Another cornerstone of CMS’s success is its commitment to nurturing emerging talent. The Bowers Program, a highly selective three-year residency for early career chamber musicians, exemplifies this dedication. “It’s the opposite of a babysitting programme,” Davidson emphasises. “Bowers artists hold their own alongside senior musicians.”
Davidson credits Artistic Directors cellist David Finckel and pianist Wu Han, a husband-and-wife team, with fostering a culture of mentorship. “They are incredibly committed to the next generation,” she says. “They are available to mentor these artists for life, helping them with leadership opportunities and expanding their networks.” This mentorship extends beyond performances, with many former participants now leading major arts institutions and festivals.
The pandemic accelerated CMS’s digital transformation, a journey that Davidson describes as both challenging and rewarding. “When lockdown hit on the Friday, we started digital programming by the Monday,” she recalls. “We already had a vast archive of recordings, thanks to the Hauser Foundation, which allowed us to maintain our connection with our audience.”
Under Davidson’s leadership, CMS has continued to innovate digitally. “We’ve created a strategic plan focused entirely on digital,” she explains. “It’s about expanding our reach and making world-class chamber music accessible to people who may never set foot in Lincoln Center. In fact, we just released our first album on Apple Music Classical, which is very exciting.”
CMS’s Diamonstein-Spielvogel Initiative further exemplifies its community commitment. Through this programme, CMS brings free concerts and educational programming to under-resourced communities in the Bronx, Brooklyn and Queens. “Bringing the experience of world-class performances to broader communities is central to our mission,” Davidson emphasises.
The Summer Evenings concert series is another example of the society’s community-building efforts. “We started the series a few years before the pandemic, now we’ve expanded from three to six concerts with all tickets either $20 or free—this past summer we attracted 17,000 lottery-style entries for 600 free tickets,” Davidson notes. “It’s brought in a new audience, many of whom return year after year.” These summer concerts, priced accessibly and held at Lincoln Center, have become a fixture for both seasoned patrons and newcomers alike.
Davidson also highlights the importance of a strong, unified board in ensuring CMS’s longevity. “The board is evolving in a really positive way,” she says. “Everyone is totally supportive of the Artistic Directors and aligned with our goals.”
She speaks fondly of current and future board leadership, noting the impact of Chair Robert Hoglund and Vice Chairs Susan Wallach and Peter Keegan. “It’s all about finding people with passion for the mission,” she explains. “As people roll off, we’ve been lucky to bring in others with incredible energy and expertise.”
Throughout her tenure, Davidson has cultivated an environment where relationships thrive. Her bond with Artistic Directors David Finckel and Wu Han is a testament to this. “We’ve become very close friends,” she shares. “We text all the time to make sure everything is on track. It’s a true partnership.”
This sense of partnership extends to the musicians as well. “They’re so supportive of each other,” Davidson says. “Recently, a pianist came out of rehearsal and said, ‘Suzanne, you won’t believe how great Radovan [Vlatković] is!’ That kind of enthusiasm and mutual respect is what makes CMS special.”
She delights in moments that reveal the joy of discovery among audiences: “When people applaud between movements, it tells me we have new audience members. I love it. Not everyone feels this way, but it shows we’re growing.”
As CMS looks to the future, the institution is focused on balancing tradition with innovation. “We’ve launched a string quartet series, providing New York City with performances of the great quartets now and for the future ,” she says. “It’s about serving sophisticated concertgoers and simultaneously expanding audience understanding and appreciation for string quartets and ensembles.”
The 2024-25 season is particularly exciting, featuring a landmark performance of Beethoven’s complete string quartet cycle by the award-winning Calidore String Quartet. “David and Wu Han wanted to present it in a way that connects Beethoven’s work with composers who influenced or were influenced by him,” Davidson explains. “It’s a different way of hearing these masterpieces.”
For Davidson, the journey to CMS has been one of serendipity and passion. “I’ve had one fabulous job after another,” she reflects. “But here at CMS, it feels like everything I’ve done before was leading to this, the most marvellous job ever.”
Her closing thoughts capture the essence of her leadership and the heart of CMS: “It’s about passion—for the mission, for the art form, for excellence and for each other. That’s what makes it all work.”
As Davidson continues to guide the CMS administration into its next chapter, one thing is certain: the community she has built will remain its greatest strength.
