In 1990 and 1991, the festival had raised about 44% of its budget (about $2.4 million) from private donations, but in 1992, the festival raised only $1.2 million from such donations, about 33% of its $3.6 million budget that year. By 1993, personal conflicts reached a breaking point, with Menotti and the board of the Charleston festival arguing over those in charge of the festival, its artistic direction, and financing. Menotti, who had threatened the end the festival in Charleston left the festival in 1993; the local board, however, owned the rights to the name of the festival and pledged to continue it without Menotti. Milton Rhodes was appointed the general manager in November 1993, and he immediately set about righting the finances, including negotiating the cancellation of about $400,000 in debt and securing a loan from South Carolina to cover another $600,000 of debt. Still, the financial difficulties continued, and the 1995 festival lost an additional $900,000. In July 1995, Redden was recruited to return to the festival on an interim basis to help it overcome a debt of more than $1,000,000. The 1995 festival went over budget by 20%, and its full-time staff was cut in half. During his first tenure with the festival, Redden had been successful in repairing the festival's flagging finances and left the festival having gone from a $500,000 deficit to a surplus of $1.4 million. Upon his return in 1996, Redden was again successful in turning the finances of the festival around, quickly raising $1.6 million and cutting debt in half. The Festival’s mission is to present programs of the highest artistic caliber while maintaining a dedication to young artists, a commitment to all forms of the performing arts, a passion for contemporary innovation, and an enthusiasm for providing unusual performance opportunities for established artists. One of the Festival's tenets is to provide young artists the opportunity to work with veteran directors, designers and performers. World-renowned artists who performed at Spoleto Festival USA early in their careers include Renée Fleming, Emanuel Ax, Joshua Bell, Jean-Yves Thibaudet and Yo-Yo Ma. Each year, the Festival produces its own operas, which are often rarely performed masterpieces by well-known composers or traditional works presented in new ways. It also presents theater, dance and music programs ranging from classical to jazz, bluegrass, soul and blues. Since its inception, the Festival has presented over 200 international and U.S. premieres, notably "Creve Coeur" by Tennessee Williams and "The American Clock" by Arthur Miller.