A User Guide for Festivals Post-Covid-19

Le Centre national de la musique est un établissement public à caractère industriel et commercial sous tutelle du ministère de la Culture, créé le 1er janvier 2020.Le Centre national de la musique est le premier établissement public au service de la musique et des variétés dans leur globalité. La musique dans toutes ses esthétiques et dans la grande diversité de ses métiers (spectacle vivant, musique enregistrée…) ainsi que les variétés, historiquement définies comme regroupant les spectacles visuels, les cabarets, les comédies musicales et les spectacles d’humour (notamment les « seuls en scène ») trouvent ainsi dans le CNM leur « maison commune » et des équipes mobilisées pour les accompagner et porter leur voix.

Le Bureau Export / CNM

The panel aims to discuss the question of the future of festivals in the aftermath of the COVID-19 crisis

w / Claire Gilbault, conductor Paris Mozart Orchestra, René Martin, Director of La Folle Journée, La Roque d’Anthéron, Roger Wright, Director of Snape Maltings (prior Controller BBC Radio 3, general director BBC Proms), Michael Dian, Director of festival de ChaillolAs part of (From) Home Export Days, a new series of online events, Le Bureau Export presents the second webinar dedicated to classical music on Wednesday 3 July, from 11.30 a.m. to 1.00 p.m CEST.After a first panel dedicated to the impact of COVID-19 on streaming and the solutions to provided for a business model dedicated to Classical Music, Le Bureau Export proposes a second session dedicated to Classical Music to discuss the question of the future of festivals in the aftermath of the COVID-19 crisis, and the critical issues the sector is facing.What economic model can be found to maintain programming despite reduced audience gauges? How to adjust programming and integrate the compromises imposed? What private/public funding should be implemented to find the right budget balance? Will audiences have to give up conviviality for the sake of their safety? How to integrate a new, reinforced digital communication? What new models are possible for concerts?  Eventually, what place should be given to ecology at a time when the impact of travel and travel is becoming increasingly problematic?<ul><li>Eric Denut (Moderator)</li></ul>Eric Denut is active as interdisciplinary projects producer as well as artistic consultant in the music publishing industry in London and Paris. His former work experience includes public service functions at the French Ministry of Culture and the general management of Orchestre National de France in Paris and Ensemble Modern in Frankfurt.<ul><li>Claire Gilbault, conductor Paris Mozart Orchestra</li></ul>Claire began her career at the Opéra National de Lyon before becoming the first woman to conduct the Filarmonica della Scala and the musicians of the Berlin Philharmonic. She has collaborated with many prestigious French and international orchestras and opera houses and has been music director of a number of institutions. A long-time collaborator of Claudio Abbado, Claire Gibault founded the Paris Mozart Orchestra in 2010 and is co-director of La Maestra International Conducting Competition for Women Conductors. <ul><li>René Martin, Director of La Folle Journée, La Roque d’Anthéron</li></ul>René Martin founded the Centre de Réalisations et d&#x27;Études Artistiques in Nantes, of which he has been Artistic Director since 1979. He firstly organised chamber music concerts, the CMC and spiritual concerts in Nantes and the region. Since then he has been at the origin of many musical events for which he is artistic director in France and throughout the world: International Piano Festival of La Roque d&#x27;Anthéron, Moments Musicaux de l&#x27;Hermitage in La Baule, Festival de la Grange de Meslay in Touraine, Abbaye Royale de Fontevraud. At the same time, René Martin is developing an artistic action abroad under the name of Label Nantes by organising concert tours in Japan, Brazil and England. In 1995, he created La Folle Journée, an original event that would revolutionize the image of classical concerts in France, performed in 11 cities in the Pays-de-la-Loire region as well as in numerous partner cities in Lisbon, Bilbao, Rio de Janeiro, Warsaw and in five cities in Japan, Ekaterinburg (Russia). He is also artistic director to advise the cities of Nîmes, Blois, Noirmoutier, Grenoble to enable them to turn the traditional concert experience upside down and to invite some of the most eminent musicians of the international scene. 
In 2015, he created the festival Le Rivage des Voix based on the voice. Finally, in 2017, he has founded Via Aeterna festival, dedicated to sacred music.

<ul><li>Roger Wright (Snape Maltings )</li></ul>Roger has been Chief Executive of Britten Pears Arts (which runs the Aldeburgh Festival) since 2014. Prior to this he was Controller of BBC Radio 3 and Director of BBC Proms for 17 years. Roger is recognised as one of the UK’s most experienced cultural leaders both nationally and internationally. His other jobs have included Senior Producer of the BBC Symphony Orchestra, Artistic Administrator of The Cleveland Orchestra in the States and running A&amp;R internationally for Deutsche Grammophon.<ul><li>Michael Dian, Director of festival de Chaillol</li></ul>Michaël Dian was born in Marseille. Pianist, he was the disciple of Pierre Barbizet. After studying at the Conservatoire National Supérieur de Musique de Paris, he turned to the direction of cultural projects, eager to combine his passion for music and a commitment to the field of public cultural policies. He is the founder of the Festival de Chaillol and director of the Espace Culturel de Chaillol, scène conventionnée d’intérêt national in the Hautes-Alpes region. Since 2017, he has been an associate professor in the Arts Department at Aix Marseille University. In 2018, the Minister of Culture Françoise Nyssen awarded him the title of Chevalier des Arts et des Lettres.<ul><li>Claude Boischot, (KD Schmid)</li></ul>Claude Boischot was born in Versailles (France). After a bilingual schooling in French and German, he studied musicology at the Sorbonne and obtained experience in cultural management by working 10 years at the Choeur Régional d&#x27;Ile de France. After further training at the IESA, Paris and an internship at KD SCHMID, he worked as production manager at Les Musiciens du Louvre-Grenoble from 2008 to 2009. After three years in the Artist Management Department of KD SCHMID, he joined in April 2013 the Orchestra Touring Departement as Project Manager.<ul><li>Nathalie Perrin, (Co-Influence)</li></ul>After a career in International marketing for major corporation, Nathalie moved to Boston for 6 years where she was trained in Harvard as a fundraiser. She has been a fundraising consultant for 16 years and cofounded Co-influence, a fundraising, corporate partnership and CSR consulting practice based in Lyon in 2010. She has been working with clients in many different sectors, in particular cultural clients such as Auditorium/Orchestre National de Lyon, Festival de la Chaise Dieu, Spirito, still raising funds after her strategic consulting.<h3>Le Bureau Export</h3>Since 1993, Le Bureau Export has worked to develop popular and classical music made in France on an international scale. Thanks to financial resources from both professional and institutional partners, Le Bureau Export has built a worldwide network aimed at facilitating exchanges between French and foreign music professionals.Le Bureau Export is a member of EMEE-European Music Exporters Exchange.

A User Guide for Festivals Post-Covid-19

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A User Guide for Festivals Post-Covid-19

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