Handel and Haydn Society Names New President & CEO

Why It Matters

Washington’s proven fundraising and community‑building record could revitalize America’s oldest continuously performing arts organization, enhancing its financial stability and audience diversity.

Key Takeaways

• Washington to lead Handel & Haydn Society starting Aug 1 2026
• He grew Community Music Center assets 200% in nine years
• Secured first permanent venue in Boston’s Roxbury Cultural District
• Musical America Top Professional of the Year 2019, 2025
• Aims to broaden audience access and partnership with Artistic Director Cohen

Pulse Analysis

Lecolion Washington, Jr., a seasoned arts administrator and professional bassoonist, will assume the helm of the Handel and Haydn Society on August 1 2026. Over the past nine years at the Community Music Center of Boston, Washington drove net‑asset growth of roughly 200 percent and secured the organization’s first permanent home in the Roxbury Cultural District. His dual reputation as a Musical America Top Professional of the Year (2019, 2025) and co‑founder of the PRIZM Ensemble underscores a blend of artistic credibility and strategic vision. He has also consulted for the Cincinnati and Nashville Symphony Orchestras and performed with ensembles such as the Orpheus Chamber Orchestra and Memphis Symphony, reinforcing his network across the national classical scene.

Washington’s appointment arrives as the 211‑year‑old Handel and Haydn Society seeks to deepen its subscriber base and diversify programming. Partnering with Artistic Director Jonathan Cohen, he plans to leverage his fundraising track record to attract new donors while expanding community outreach beyond traditional classical audiences. Industry insiders anticipate a capital campaign targeting roughly $50 million to fund a new education wing and digital streaming initiatives. The society’s Grammy‑winning legacy, combined with Washington’s experience in securing permanent facilities, positions it to pursue larger capital campaigns and innovative collaborations that could reshape Boston’s orchestral landscape.

The move reflects a broader shift among U.S. performing‑arts nonprofits toward leaders who can balance artistic excellence with measurable growth. As donors increasingly demand impact metrics, Washington’s data‑driven approach may set a benchmark for other legacy institutions grappling with aging audiences and funding volatility. Recent appointments at the Boston Symphony Orchestra and New York Philharmonic illustrate this data‑centric leadership model. For Boston, his focus on accessibility and partnership could amplify the city’s cultural tourism, reinforcing the region’s reputation as a national hub for classical music and education.