Arts administrator, currently the Development Manager with the PYO Music Institute. I have a huge passion for classical music, the performing arts, and arts education.While attaining my Master of Arts degree from Michigan State University, I began my professional career with the Lansing Symphony Orchestra. This quickly progressed into a full-time position as the Education & Operations Manager upon my graduation from MSU in 2018. Serving as the organization’s Operations Manager, I assisted our Finance and Operations Director with our operational needs. I oversaw venue rentals, anything that pertained to rehearsals/performances, and anything that pertained to instrument rental, storage, maintenance, and transportation. I worked closely with the vendors for equipment and instrument rental, as well as venues for rehearsal/performance space. As the Education Manager, I oversaw our free programs that offered performances in our community, including the free Family Series at the Library. Beyond that I also oversaw the annual Concerto Competition, Side-by-Side community performance, and our programs to offer families and students discounted tickets.I left the LSO in 2019 to move to Virginia for a position with the VSO. While with the VSO, I was their Operations Manager, all as the COVID-19 pandemic was beginnings. I shortly was furloughed due to the pandemic, but was fortunate to be able to wait through it until work resumed. I was able to assist with the VSO returning to live performances during the COVID-19 pandemic, while simultaneously adhering to local, state, and federal guideline as well as additional ones imposed by the Orchestra/musicians. My operational duties included instrument rental/transportation/storage, venue rental, vendor/venue liaison, and guest artist/conductor coordinator. I ensured the Orchestra’s equipment was properly stored in our storage unit and properly transported to all venues. Classical performances would usually span three performance dates in three different cities (approximately 100 miles per performance run), and Pops would usually space 2 dates and cities (approximately 75 miles per performance run). I oversaw and a scheduled the Production Crew to ensure timely a set up and tear down for all rehearsals and performances. I was responsible for coordinating all guest artist and conductor travel and accommodations, including all ground transportation.