CEO of Queensland Symphony Orchestra (QSO): quick links
Michael Sterzinger grew up in a small Bavarian village where music was part of everyday life and from a young age he knew he wanted to be a musician. ‘I started on German Tenor Horn at eight, moved to tuba at 15 and spent many of my school holidays at youth orchestra camps. Some summers I would do four back-to-back weeks of the six-week break spent entirely playing music.
‘Conscription was still active when I finished school, so I served ten months in the German Air Force Band. Based in Munich, we rehearsed by day and went to concerts by night. I was fortunate to study with the tuba player from the Bamberg Symphony Orchestra – one of the best in Europe – an experience that helped me secure a place at music conservatorium in Weimar and later Hanover.
He began his career as a freelance musician, teacher and conductor, but was always drawn to organising and managing. In 2004, he took on a Production Manager role with the Schleswig-Holstein Musik Festival, working with an international festival orchestra founded by Leonard Bernstein.
‘It was my first taste of large-scale orchestra management and touring and I loved it’ Sterzinger says.
How did you become CEO of QSO?
‘When my husband David, a bassoonist from Cairns, was offered a position with Queensland Symphony Orchestra, it was an exciting opportunity to move to Australia and start a new adventure together. We landed in Brisbane in October 2009, and by February 2010, I’d joined Queensland Youth Orchestras as Marketing Officer.
‘That role introduced me to audience development, marketing, and tour management, and set the stage for my first stint at QSO (2013–2021) in Artistic Planning.
‘After leading programming and artistic planning at QSO, I became Executive Director at Camerata – Queensland’s Chamber Orchestra. When the CEO role at QSO came up in 2024, I felt ready, having already spent seven years with the organisation.
‘I knew it intimately. I had the combination of artistic and organisational experience, and a deep, long-standing relationship with the orchestra. Returning as CEO felt like coming home, but with the privilege of leading QSO into its next chapter.
‘I feel like I’ve been preparing for this role my whole life. My early career as a professional tuba player gave me a deep connection to the artform, and I’ve spent every step since learning all I can about the business of arts.’
What are the joys and difficulties of your job at QSO?
‘The joy is obvious – leading an organisation that delivers world-class performances and life-changing experiences for audiences. I attend at least one performance for every project and keep a live feed from our rehearsal studio in my office so I’m always connected to the music.
‘The challenges? Swapping hats constantly. You might have a union negotiation in the morning, job interviews in the afternoon and be hosting sponsors at a concert that night. It’s a complex mix of running a business and being part of the performance. And with 130 employees, there’s always the challenge of balancing resources with ambition.’
What are some of the most common misconceptions about being CEO of QSO?
‘People often assume it’s a “suit” role – all governance, business strategy and people management. And it is those things, but it’s also deeply artistic. You need to know the artform intimately so you can confidently talk about it with funders, corporate partners, audiences and donors.
‘You need to understand the inner workings of an orchestra so you can support musicians to deliver their best work. It requires a wide musical vocabulary and the ability to translate between the artistic and corporate worlds. Like in any industry, a CEO with deep, hands-on experience is a huge advantage.’
If you were hiring for your job at QSO, what would you look for?
‘First, a deep love and understanding of music – you need to connect with the artform to earn the trust of musicians and audiences.
‘Second, strong people skills – it’s a people business, full of personalities and passion. Third, solid industrial relations knowledge – with 130 employees, an enterprise agreement and WHS obligations, you need to navigate complex workplace matters.
‘Finally, adaptability – one day could involve budget meetings, rehearsals, board presentations and a black-tie concert. You have to thrive in variety, swap hats quickly and bring energy to every context.’
What’s the number one challenge of live performances these days?
‘Revenue is always an interesting challenge – finding the right funding mix to reach as many Queenslanders as possible. We have wonderful patrons who love attending concerts in premium seats and, on top, are happy to show their appreciation for the orchestra through donations – while at the same time QSO also wants to perform free activities, like outdoor concerts in regional communities or education activities.
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‘Achieving both requires diverse revenue streams from ticket sales, philanthropy, government support and partnerships. Programming is another constant balancing act – creating concerts that are accessible and popular, while satisfying purists and showcasing the orchestra’s full artistic breadth.
‘When we get it right, we build audiences, deepen engagement and fulfil our role as an orchestra for all Queenslanders.’
