Andreas Richter, General Manager of the MCO, about his impressions, his experience, and his vision for the orchestra.
You became General Manager of the MCO in March 2007. Prior to this time, you held positions such as orchestra director of the Deutsches Symphony Orchester in Berlin. In your opinion, what are the important differences between the MCO and a subsidized orchestra? Andreas Richter: The fundamental difference is that a subsidized orchestra is financed by a particular institution. This might be the radio or a state or city government. This is a structure that guarantees financial security, but also places certain requirements on the orchestra. Requirements that usually have to do with public culture. The MCO does not have this kind of structure. One central idea of the orchestra is that it decides for itself what it does and what it does not do.
What has been the biggest change in your everyday professional life since you started at the MCO? Andreas Richter: The DSO is an orchestra that gives about 70 concerts a year in its home city of Berlin and a few tours abroad. When the MCO plays, it is always on tour. This means that I travel a lot professionally and that the work is not, as it was at the DSO, focussed on a particular audience in a particular city.
Where did you first encounter the MCO and what was your first impression? Andreas Richter: The first impression that I can remember was a performance of Così fan tutte in November 2006 in Vienna and shortly thereafter the Somethin’ Stupid… concert at Berlin’s Konzerthaus. Of course I had heard of the MCO before, because some musicians of the DSO play in both orchestras and I had to sign their vacation forms to allow them to do so. My impression was: a very lively, fresh, engaged and youthful orchestra.
And was this impression correct? Andreas Richter: Yes, it was.
You are a trained educator; you have worked as a journalist and dramaturge, as head of the communications department of the Komische Oper and as an orchestra director. Which of your professional experiences have proven to be the most useful at the MCO? Andreas Richter: The interesting thing is that all of these career experiences are helpful in my current job. My pedagogical background is important for interpersonal interaction, my experience as a journalist and critic gives me insight into the music scene, and as a dramaturge I had to be well versed in matters of musical content. The whole area of communications is beneficial for the orchestra in building up a strong network. And during the period at the DSO I gathered experience in the international music market, in working closely with excellent artists such as Kent Nagano, and in the interaction with politics and business. But still in some ways one always starts over from scratch, finding new ways to think newly about a new orchestra with new colleagues.
Shortly before its tenth birthday, the orchestra is at a point of transition – looking back with pride and pleasure, looking forward with excitement. What, in your opinion, should the orchestra take with it from the past years? Andreas Richter: The liveliness, the joy of making music, the friendship and respect among the players, and the idealism.
And what should be left behind? Andreas Richter: Existential insecurity, misplaced modesty, and lack of structure in concept and planning.
What are the greatest challenges that a structure such as the MCO will be faced with in the future? Andreas Richter: The main challenge here is that the orchestra constantly has to reinvent itself. There are some external constraints, but these do not release us from the responsibility of constantly asking ourselves where we are and where we want to go. This applies in artistic planning as well as in legal and communications structures. A further challenge involves keeping the balance between the individual interests of the musicians with their various life situations (think family, think children) and the common interests of the whole collective. And then we have to make sure that the orchestra is present at the important festivals and the key European music cities.
Is the MCO a model for the future of orchestra structures in general? And if so, how? Andreas Richter: I think it can indeed serve as a leading example, but its uniqueness is not transferable to every location. Our independence from public funds does give us certain freedoms, but for many other orchestras this would not be sustainable. And the life that our musicians lead, which is in character more the life of a soloist than of an orchestral musician, is one that many musicians could not imagine for the long term.
Northern Norway, Iceland, Greece, maybe even Israel and Dubai – you are always on the ‹lookout› for new concert locations for the orchestra. Where do you want to go with the orchestra? Andreas Richter: Everywhere that is interesting, where we find new places to play, also ones that are aside from the usual orchestra tour routes, where we can find an exchange between different cultures.
Do you have a favourite destination? Is there a particular place where you would most like to see the MCO play? Andreas Richter: In front of the Taj Mahal.
What fascinates you personally about this orchestra? Andreas Richter: The freedom that I feel here – artistically and personally. The necessity for responsibility and leadership. And the extremely enriching contact with the people who come together here.
If the MCO were an opera aria, it would be? Andreas Richter: … Casta Diva.
