Kathryn McDowell, the managing director of the London Symphony Orchestra (LSO) for the past 21 years, is set to step down on July 12, marking the end of an era for one of the world’s most renowned orchestras. Her tenure, which began in 2005, saw the LSO expand its global presence, enhance its educational outreach, and innovate within the classical music industry.
McDowell, who became the first female managing director in the orchestra’s 101-year history, announced her departure just over a year ago. Her successor, John Harte, chief executive of the Aurora Orchestra, was appointed six months prior to her exit. Her final concert in the role will feature Wagner’s Tristan and Isolde, conducted by the LSO’s principal conductor Antonio Pappano.
Throughout her leadership, McDowell built upon the groundwork laid by her predecessor Clive Gillinson, who left to lead Carnegie Hall in New York. She focused on key priorities such as developing the LSO’s recording label, LSO Live, expanding community and education programs via LSO Discovery, strengthening international partnerships, and increasing private funding. One of her notable achievements was securing £8 million from philanthropists Alex and Elena Gerko to enhance LSO St Luke’s, the orchestra’s rehearsal and education center in London.
McDowell stressed the orchestra’s role in complementing traditional music education, which she believes has been increasingly marginalized in schools. Under her leadership, the LSO engaged in outreach programs across East London, culminating in 100 young musicians performing alongside the orchestra during the 2012 Olympic opening ceremony—a moment famously remembered for Rowan Atkinson’s “Mr Bean” performance.
The arrival of Simon Rattle as music director in 2014 brought new challenges and demands, including calls for increased rehearsals and a new concert hall to replace the Barbican venue. McDowell recalled navigating Rattle’s requests carefully, working openly with stakeholders to secure additional resources where possible. However, plans for the new hall were ultimately shelved by the City of London Corporation amid escalating costs and the pressures of the COVID-19 pandemic, leading to Rattle’s early departure.
Beyond administrative leadership, McDowell championed a broadened repertoire that embraced contemporary compositions and diverse musical genres. She cultivated collaborations with artists such as singer-conductor Barbara Hannigan and gospel specialist André J Thomas, reflecting shifting audience preferences toward more eclectic programming.
Internationally, the LSO expanded its influence through initiatives like annual visits to Hanoi, where the orchestra supports young musicians, and participation in the Mediterranean Youth Orchestra in Aix-en-Provence, which now includes musicians from across the region.
As McDowell prepares to leave, she expresses no regret over her departure but acknowledges the orchestra’s continued need for a new concert hall with world-class acoustics. At 66, she plans to take a sabbatical before deciding on her next steps in the music world, emphasizing a desire to contribute without committing to a full-time role.
Known for her steady and unassuming leadership style, McDowell leaves behind a legacy of innovation, outreach, and artistic excellence that has helped secure the London Symphony Orchestra’s status on the global stage.