how we got here.

In 2020, Broadway orchestrator Macy Schmidt — a Forbes 30 Under 30 entrepreneur, Tony Award–winning co-producer, and the first woman of color in history to orchestrate on Broadway — gathered a group of women to keep playing through the pandemic. That group became what is now known as The Sinfonietta: an all-women, majority women-of-color ensemble soon hired to bring film scores to life on stage — first by Senbla Concerts, for Spider-Man: Into the Spider-Verse and Avatar: The Last Airbender.

When Barbie hit movie screens in 2023 (r.i.p. the Summer Of Girlhood™), Macy saw an opportunity. Overture licensed the worldwide live rights from Mattel and built Barbie The Movie: In Concert from the ground up — financing it, producing it, and conducting its premiere at the Hollywood Bowl, then Royal Albert Hall (both headlined by The Sinfonietta, of course), then on to stages across the globe.

That first larger-than-life night at the Hollywood Bowl changed everything.

Partnerships began to blossom with more of the world's most beloved IP, and Overture became what it is today: a company that invests in the stories it believes in, develops them into large-scale live spectacle, and produces them in-house or licenses them to symphonies, venues, and partners worldwide.

Overture’s reach now runs well beyond the symphony stage — backing Broadway (most recently as an investor in Tony-winning Best Musical Schmigadoon!), commissioning original works for licensing around the world, and partnering with major tech and discovery platforms to advance live entertainment as a whole.

Overture is built and run by women. Soon after acquiring the Barbie rightes, Macy assembled a team spearheaded by her right hand and longtime Sinfonietta partner — Broadway and creative-development veteran Colleen McCormack — making Overture an all-women company: already rare in any industry, but almost unheard of in the film-concert world.

And we're musicians first. Everything happens in-house — orchestral contracting, music prep, license development, full-scale production, even the conducting. Every detail is ours to obsess over, and we play the long game: the work and the relationships mean more to us than any single dollar.

The orchestra was never meant to be background music.

We take the stories the world already loves — on screen, on record, and beyond — and turn them into large-scale live spectacle anyone can fall for, whether or not they ever thought they were "an orchestra person." We're here to make the orchestra the main event again and build the kind of spectacles people talk about for years.

We’re only just getting started.