Freakonomics Radio

Who Pays for “Messiah”?

December 17, 2025

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  • The economic viability of major orchestras like the New York Philharmonic relies heavily on individual philanthropy, as ticket sales cover only about 30-35% of operating costs. 
  • Gary Parr initiated the New York Philharmonic's successful international residency in Shanghai, viewing it as a strategic way to create scarcity, build a new donor base, and provide 'software' (orchestral performance) to a region with new concert halls. 
  • The American model of robust private philanthropy for the arts contrasts sharply with European models, where government funding often covers over 90% of costs for institutions like the Berlin Philharmonic. 

Segments

Introduction to Messiah Bonus Episode
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(00:01:06)
  • Key Takeaway: Stephen Dubner is publishing a bonus episode about Handel’s Messiah, prompted by Gary Parr’s role as presenter.
  • Summary: Dubner explains that he became curious about who Gary W. Parr was after seeing his name present Handel’s Messiah performances by the New York Philharmonic, leading him to track Parr down.
Gary Parr’s Background and Philanthropy
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(00:02:58)
  • Key Takeaway: Gary Parr is a finance executive whose philanthropy centers on education and the arts, stemming from his upbringing.
  • Summary: Parr introduces himself as a Senior Managing Director at Apollo involved in philanthropic activities focusing on education and the arts. He discusses how learning about art and literature, like Shakespeare, creates more balanced people.
The Economics of Orchestras
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(00:07:56)
  • Key Takeaway: Orchestras are expensive to run, with ticket sales covering only about 30-35% of costs, making philanthropy essential.
  • Summary: Parr explains that orchestras are costly due to the number of musicians and staff. He notes that government support is minimal in the U.S., forcing reliance on individual charitable contributions to close the financial gap.
Patronage: US vs. Europe
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(00:09:33)
  • Key Takeaway: The U.S. relies heavily on individual philanthropy for the arts, unlike Europe where government funding plays a much larger role.
  • Summary: Parr contrasts the American model of individual giving (often incentivized by tax deductions) with the European model where citizens expect the government to fund cultural institutions, citing the Berlin Philharmonic’s budget being over 90% government-funded.
Endowing the Messiah Performance
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(00:12:21)
  • Key Takeaway: Gary Parr endowed the New York Philharmonic’s Messiah performance as part of a capital campaign because he loves the piece.
  • Summary: Parr details how he took on the presenter status by endowing the performance, which was a strong revenue generator during the holiday season, ensuring its continuation.
New York Philharmonic’s Current State
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(00:24:06)
  • Key Takeaway: The New York Philharmonic is in better shape than in years, thanks to the new David Geffen Hall and the upcoming tenure of Gustavo Dudamel.
  • Summary: Parr assesses the orchestra’s current creative and financial health, highlighting the positive reception to the renovated hall and the excitement surrounding Dudamel’s arrival.
International Residency in Shanghai
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(00:26:50)
  • Key Takeaway: Parr initiated a residency in Shanghai to create scarcity, build a new audience/donor base, and provide ‘software’ (orchestral performance) where China had the ‘hardware’ (halls).
  • Summary: Parr explains the rationale behind establishing a second home in Shanghai, noting that touring is economically difficult. This partnership has successfully brought new Asian audience members and board members to the Philharmonic.
Universality and Meaning of Messiah
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(00:38:17)
  • Key Takeaway: Messiah resonates universally beyond its religious context due to themes of hope, redemption, and shared human sentiment found in its scripture-based lyrics.
  • Summary: Parr discusses how the piece can appeal to religious and non-religious listeners alike, noting that much of the text is from the Old Testament, providing a bridge to commonality.
Standing for the Hallelujah Chorus
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(00:41:30)
  • Key Takeaway: Parr stands for the Hallelujah Chorus primarily due to peer pressure, as the presenter, despite believing people should do what they want.
  • Summary: Dubner asks Parr about the etiquette of standing during the famous chorus. Parr admits that as the presenter, he feels obligated to stand to avoid appearing rude.