Festivals

“Ineluctably the Festivals arise”, to misquote Rainer Maria Rilke.

And, as summer approaches, thank God for them!

In the world of classical music they are vital. But they now appear, perhaps, as in a shadow of their former glory, these happy gatherings of star hunters and aficionados.

The first was Edinburgh in around 1947, when the Germans came to make peace in the form of the Vienna Philharmonic and

Later, they were often founded by great artists who could attract equally gifted talents to Aldeburgh or Kirkwall; Amsterdam or Donaueschingen; Salzburg or Halifax.

However, when these leading lights fade away, and their ability to draw funds with them; what’s left? Well, a lot actually. They motivate enthusiasts to “pull out the stops” and summon greater efforts and ambition to achieve perfection or, at least, their best.

This has applied particularly to the greatest classical music festival of them all, our own BBC Proms. OK, the hard-line modernism of previous Proms directors is no longer there (no Birtwistle’s Panic!) but the diversity is very much a symbol of our time.

While I’ve escaped Proms programming, as yet, I made my debut at Edinburgh, and my first opera was premiered at Holland, my first Swedish opera appeared at Vadstena and my latest opera at Buxton.

That’s why I love Festivals and so should you.