Melbourne Symphony Orchestra chief speaks for first time since court win

November 7, 2026 — 9:00amHaving taken the reins as CEO of the Melbourne Symphony Orchestra two years ago, can Richard Wigley hear a difference in their music between now and then? Absolutely.“The orchestra, once they felt listened to, projected something different on stage. So 2025 was our biggest sales year ever, right in the teeth of all the negative publicity. And I put that down to a kind of freshness and a vibrancy to what they were doing,” he says.Richard Wigley, chief executive of the Melbourne Symphony Orchestra. Simon SchluterAbout a week after he started in August 2024, Wigley sat in a room with the musicians and the staff and asked how they were feeling, adding that anyone could speak at any time.This was in the aftermath of the high-profile Jayson Gillham incident when the guest pianist dedicated a piece of music to journalists killed in Gaza, adding that some were deliberately targeted by the Israel Defence Forces. It would become the central issue in a federal court case, which saw the London-based Australian pianist sue the MSO for wrongful dismissal for expressing his political beliefs.Several people cried in that meeting, Wigley says. “It was a change for the organisation because there was this person in front of them, who runs orchestras, who said, ‘I’m not going to tell you what I’m thinking. I want to know what you’re thinking.’”Speaking for the first time since the case was won by the MSO, Wigley says that openness was the critical change. “I’ve tried to honour that sense of leading from the middle and being available. The way that people in this company have come through a very difficult situation is exceptional. They’ve got on with producing increasingly brilliant art. It’s really something.”As for the court’s decision, Wigley says the judge was very clear about the conclusions and that he respects his findings. “We wish Jayson extremely well for what comes next. It’s important to establish what are acceptable boundaries, if you like, on stages. So I think that that was an important contribution to the entire sector.“If you’re being hosted on the stage, then you need to be aware the impact of what you say on audience members.”Asked whether a code of conduct had been put in place to reflect that, Wigley said the organisation was reviewing all its policies and procedures, which would take about two years.Jaime Martín conducting the MSO earlier this year.Laura ManaritiAfter the court’s ruling, Gillham posted on Instagram: “I am understandably very disappointed by the court’s decision in this matter. I believe artists should be free to speak with integrity. This case was never just about me. My principles remain unchanged.”Soon after joining the MSO, the New Zealand-born former bassoonist filled several string positions that had been vacant for some time. When the request was made, he said yes immediately. “An international orchestra has 60 string players,” he says. “That’s just a fact, 55 is not the same. This is about respecting the art form and the musicians’ ability to deliver at their best.” Speaking on background, one musician described Wigley as a very good communicator who gets up in front of the orchestra and asks for questions frequently.The MSO’s was able to reduce its $2 million deficit in 2024 to $1 million in 2025 – helped by a restructure that saw about 10 administration roles cut – and the organisation is working towards breaking even in 2029.Ticket income for 2026 is poor, a problem across the arts more broadly, says Wigley. “It’s unfortunate that at the point of investment in the orchestra, which is the right thing to do, [we’ve] hit the cycle of lack of consumer confidence hitting ticket sales.”One show that will help the coffers is next year’s 40th anniversary concert of The Legend of Zelda, which has clearly tapped into a big market, with $1.371million worth of tickets sold in three days.Wigley oversaw the transformation of the Ulster Orchestra and the BBC Philharmonic for a decade before coming to the MSO.“The culture was here already, it just needed somebody to go, ‘I see the culture, I recognise the culture, and now we need to grow from that culture’ because it’s such a positive,” he says. “It’s a phrase I use a lot, apologies if it’s dull, but you don’t have to go to Vienna to hear a great orchestra. It’s right here.”The Booklist is a weekly newsletter for book lovers from Jason Steger. Get it delivered every Friday.From our partners