Five keywords for our Head of Artistic Operations.
Over the past ten years, we have developed several new formats. These are mainly shorter formats that are often performed without an interval, which is well received by the audience. The most striking new concept is probably tonhalleCRUSH with a moderated orchestral concert in the first half and a second part in the foyer, in which our musicians show a completely different side to themselves with Irish folk, tango or Swiss folk music. In addition, streaming services have been expanded and digitalisation is now shaping many other areas of operations. This opens up new opportunities, but also new difficulties - but the opportunities outweigh the difficulties if we use the technology wisely. In my field, it makes things a lot easier: if a soloist cancels, for example, I can immediately check who has the relevant work in their repertoire and is available. That used to be much more complicated.
The biggest challenge was undoubtedly the coronavirus pandemic. The time was characterised by a great deal of uncertainty for us, we had to constantly reschedule, always reckoning with different scenarios ... What was possible only became apparent at very short notice. This demanded great flexibility from everyone involved. How great this flexibility was, how much everyone endeavoured to make the best of the situation - that was always a positive experience, even during this difficult time.
Our main discovery format is the Série jeunes concerts, in which we present promising young musicians. I have particularly positive memories of the performances by violinist Maria Ioudenitch, percussionist Vanessa Porter and pianists Alexander Malofeev, Yoav Levanon, Lukas Sternath and Giorgi Gigashvili, among others. There were also some discoveries and rediscoveries among the works, such as Messiaen's "Eclairs sur l'au-delà", which our orchestra performed in January 2017 under the direction of Kent Nagano.
What surprised me above all was how well the Tonhalle Maag was received by the audience, our orchestra and the guest artists - and how it actually functioned as a concert hall. The acoustics, the catering, the atmosphere in the foyer: it all helped to make this interim period a really good time.
Over the past ten years, I have experienced three very individual characters with different aspirations and goals - David Zinman, Lionel Bringuier and Paavo Järvi. All three were or are important partners in programme planning. David Zinman's Beethoven cycle at the time of his departure is unforgotten; he also helped to organise the Zurich Festival (which has since been discontinued) and initiated the International Film Music Competition together with our clarinettist Florian Walser. Lionel Bringuier focussed on Ravel and French music in general, he was with the orchestra in South America and opened the Tonhalle Maag. And now Paavo Järvi, our Music Director since 2019: he wants to bring the orchestra into the top league - not only in Zurich, but also worldwide with major tours, prominent guest appearances and groundbreaking CD recordings.
Translated with DeepL.com
