By now, most audience members know that ticket revenues fall far short of the cost of supporting an opera company. In Palm Beach Opera’s case, its $1.2 million in ticket sales cover less than a third of its $3.8 million annual operating budget. That’s why Palm Beach residents Beverlee and John Raymond have given the company a $50,000 challenge grant to encourage fans to not only buy tickets, but also donate. Each contribution will be matched up to $50,000.

One senior arts professional said recently she could easily work 15 to 18 hours every day: mornings that start with breakfast board meetings, evenings that end with networking at after-show drinks. No one could question the commitment of people who make their livelihood in the arts. You just wouldn't do it for the pay alone.

Yet the responsibilities are great. The chief executive of Big Corp has to deal with shareholders, staff and customers. Arts managers have a fraction of a corporation's turnover yet have many stakeholders: often three levels of government, multiple donors and sponsors. The level of stakeholder servicing can seem grossly disproportionate to the sums involved.

With no formal talks on the horizon, the remainder of the Minnesota Orchestra’s 2012-13 season almost certainly will be canceled. The opening of a renovated Orchestra Hall in July could be another victim of a bitter fight that has cost millions in economic activity and frustrated music fans. The labor dispute that has silenced the orchestra will hit the six-month mark Monday, making it the most protracted among top 10 U.S. orchestras in decades.

Nashvillians will be hearing less of Gustav Mahler and more of Amy Grant, Vince Gill and Kenny Loggins next season at the Schermerhorn Symphony Center. That's because the Nashville Symphony Orchestra is overhauling its schedule and programming for the 2013-14 season, placing a greater emphasis on pops concerts while eliminating seven of its 14 Thursday-night classical performances.

"Attendance for our classical concerts on Thursdays was much lighter than we had hoped," says Alan Valentine, the NSO's president and CEO. "People who go to our pops series are entertainment buyers who are attracted to the hall for different reasons, and we think those concerts can be more profitable. The bottom line is we need to bring in a lot more revenue to support the hall."

Culture jobs are advertised as either full-time or part-time, but rarely as flexible. We define "work" in terms of hours and days worked rather than tasks completed. Even in senior positions, there is often a contractual reference to hours per week and weeks per year. What would happen if we didn't measure jobs in terms of days worked but in terms of tasks completed?

What would happen if we gave people completely free reign to deliver those tasks in a location and time of their choosing?

This winter’s flu epidemic would be stronger and deadlier than ever before, the Centers for Disease Control warned Americans months ago. Armed with this knowledge, older Americans, people with small children, and others at increased risk moved quickly to get flu shots.

What would happen if nonprofits were hit by an epidemic? Suppose they faced an acute shortage of volunteers or record nonprofit layoffs. Or what if nonprofit revenues took an unexpected dive? Would nonprofits have at the ready the knowledge they need to take precautions against such an epidemic?