“Politics needs us” – Im BackstageClassicalpodcast, the Vienna Philharmonic defend their course against criticism. Board member Daniel Froschauer and managing director Michael Bladerer talk about the USA tour, its ideal sound, new conductors and the importance of the orchestra in Salzburg.
English summary: In this BackstageClassical-Podcast, the Vienna Philharmonic defends its independence, rejecting political pressure and artistic criticism. Leaders Daniel Froschauer and Michael Bladerer stress their self-governance, unique sound, and commitment to music over politics.
The Vienna Philharmonic defends itself in a detailed podcast conversation BackstageClassical their course against criticism and emphasize their political and artistic independence. The board members Daniel Froschauer and Michael Bladerer point to the democratic self-management of the traditional ensemble and its specific sound ideal.
One topic is the most recent US tour, which also takes the orchestra to politically polarized Washington – and to the “Donald J. Trump and John F. Kennedy Center for the Performing Arts”. The decision to perform here was widely discussed internally, emphasizes Froschauer: “We held a meeting just for this topic and decided there that we would go and play.” Bladerer emphasizes that they see themselves as ambassadors for music, not politics: “The Vienna Philharmonic per se, we don’t make any political statements. If we said we weren’t playing, we would be making a political statement.” Froschauer adds that they don’t want to let the audience down: “You punish music lovers by not playing. You don’t play as a political message for or against someone (…), but you play for an audience.«
Response to criticism
The board rejects the criticism expressed in German feature articles about the artistic quality of the orchestra – especially with Beethoven or Mahler. Bladerer emphasizes the orchestra’s “original sound” as a central unique selling point: “We certainly won’t actively change the sound, because it is what sets us apart from everyone else and also sets us apart.” From the Philharmonic’s perspective, modernization occurs through the ongoing generational change in the orchestra. Bladerer points to a broad repertoire with several contemporary works in the subscription concerts, including compositions by Lutosławski and Penderecki: “You have to have unique selling points. If you’re just an orchestra that plays like everyone else, then people won’t want to pay double the price for it.”
In response to the criticism of not inviting enough women, Froschauer explains that they are increasingly opening up to female conductors and cites the engagements of Joana Mallwitz and Karina Canellakis in subscription concerts and at the Vienna State Opera as examples. What is also important – especially at the New Year’s concert – is a “grown, long-term relationship,” explains Bladerer.
Role in Salzburg
Froschauer and Bladerer explain the changed role of the Vienna Philharmonic at the Salzburg Festival, which will be opened in the opera this year by the ensemble Utopia of the controversial conductor Teodor Currentzis, with organizational and artistic reasons. For her, “Carmen” is not the decisive work. The orchestra’s later arrival in Salzburg is linked to a fixed three-week vacation period in July: “This time simply must not be touched.” Artistically, Salzburg consciously focuses on major projects such as Olivier Messiaen’s opera “St. François d’Assise”. “This is a violent effort for us (…),” explains Bladerer, “but pieces like this help us move forward.”
Despite a general loss of relevance of classical music in many countries, the Vienna Philharmonic currently sees itself in a comfortable position. The subscription series have been sold out for many years and the orchestra is largely financially self-sufficient. As a self-governing association that earns its own fees, it is particularly independent of politics, explains Froschauer: “Politics needs us, we don’t need politics so much.” The board members comment with incomprehension that the city of Vienna has just canceled subsidies of 250,000 euros for the open-air concert in Schönbrunn: “When we play abroad, politicians like to accompany us, but when we ask for subsidies for activities in Vienna, they stay “Quiet.”