Sexism, Corona, unclear relationships with Putin: the classical music festivals have massive problems. Why they still absolutely need to be saved – also from themselves.
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Reinhard J Brembeck
The Bayreuth Festival opened on Monday with a new production of “Tristan”, this Tuesday the Salzburg Festival is presenting its first double premiere with Béla Bartók’s “Blaubart” and Carl Orff’s “Comœdia”. This is unusual, tempting, and up until two years ago it would have been passionately discussed beforehand. Festive high culture at its finest. But this year everything is different. The consequences of Corona, allegations of sexism, toxic sponsorship weigh heavily on Salzburg and Bayreuth. This overrides the interest in art and the humanistic importance of classical music; it can even threaten the very existence of the Festival.