The Concerto Is Negotiable — How a Promoter Can Bring Their Own Soloist to a United Soloists Orchestra Programme
Booking an orchestra does not have to mean accepting a fixed soloist package. On our Tchaikovsky 180 programme in Lugano, the internal promoter note was simple: "Soloist might be yours." The rest of the evening — Tchaikovsky's Piano Concerto No. 1 and an original Swan Lake arrangement — was built to wrap around that guest artist.
What does "bring your own soloist" actually mean for a booking?
It means the soloist slot is not reserved for a USO-named artist. A promoter can propose their own pianist, singer or instrumentalist, and we adapt the programme around them. The Tchaikovsky 180 concert was documented this way: the comment for promoters literally reads "Soloist might be yours."
This is not a last-minute swap. It is written into the programme design from the start. We plan the orchestration, the rehearsal schedule and the stage plot so the guest soloist has the same support as any USO core artist.
What does USO build around a guest soloist?
For the Lugano season-closing concert we paired Tchaikovsky's Piano Concerto No. 1 with a Swan Lake suite arranged by music director Arseniy Shkaptsov. The 55-musician orchestra played his original arrangement, shaped to fit the guest soloist, the hall and the overall flow of the evening.
The programme split into two halves: the concerto with the guest soloist, then the Swan Lake suite as the second act. Because the arrangement is ours, we can adjust cuts, tempos and transitions to suit the soloist and the room.
The same thinking works on the commercial side too. A guest pianist or singer can drop into a Symphonic Disco evening as a "special guest" slot, or anchor a full classical programme. Whatever fits the artist and the audience.
How has this kind of programme been received?
The 2022 concert is the documented case. The programme is still listed in our promoter archive, and the "Soloist might be yours" note is visible there today.
Since then we have used the same open-soloist approach in two ways: as a "special guest" spot inside more commercial shows, and as the centrepiece of a classical programme built around a visiting soloist. In both cases the audience gets a one-off evening they cannot hear anywhere else.
Every programme is its own case. For a different venue story — a sold-out church concert in Locarno — see our sold-out church case study.
How does this fit into a wider booking?
This is one part of how USO tours. We bring our own technical kit, travel with the orchestra, and can build setlists around a venue or a guest artist. For the logistics, see our technical and hospitality rider notes; for the wider touring record, see the China case study and the booking hub.
If you have a soloist in mind, the next step is a conversation. Tell us the artist, the hall and the date, and we will sketch how the programme could work.
Frequently asked questions
Can we always bring our own soloist?
Yes, if the repertoire fits and we have enough lead time. The exact programme depends on the soloist, the hall and the season.
Does this cost more than a standard programme?
It depends on the repertoire, any extra arrangements and the rehearsal time needed. We quote each programme to your budget and artistic brief — there is no fixed upcharge.
How much lead time does a custom-soloist programme need?
About 1.5 to 2 months is the practical minimum for adapting orchestration and rehearsing together.
Can this work for a touring date, not just a single concert?
Yes. The same approach scales to a tour: we travel with our own equipment and can build the setlist around a guest soloist for multiple dates.
Written by Arseniy Shkaptsov, founder and Music Director of United Soloists Orchestra. Talk to him about your programme at ars@uso.swiss or via the /for-promoters enquiry form.