debut with the Philharmonia—a remarkably talented conductor and another exemplary ambassador for the Competition. Regarding the jury process, how does the Svetlanov Competition reach its verdict? In my experience, the process is managed very carefully. Initially, jurors assess candidates independently without conferring. Then, under the jury chair’s moderation, a consensus is sought through rigorous discussion. The caliber of the jury ensures robust debate, always mindful that the decision carries Svetlanov’s name forward and represents a vote of confidence in these young conductors. The discussion ultimately focuses on key points, considering the stage of someone’s career and their future potential. There is no pressure to name a winner if none is unequivocally outstanding—the integrity of the musical opinion is paramount. A valuable aspect is the jury’s willingness to spend time with finalists afterward, offering crucial guidance. Each competitor brings unique circumstances; I recall a profoundly moving moment in Monte Carlo when a Ukrainian conductor was emotionally affected by events at home. The process, while tough, is respectful of the competition’s founding principle. Given current geopolitical tensions, how does the competition address its Russian heritage? This was addressed head-on by Marina Bower in 2022. She made it unequivocally clear that the competition has no administrative, managerial, financial, or artistic ties to Russia. Svetlanov himself had to flee Russia; he was effectively stateless. We must separate the artist—and the great Russian musical legacy—from the regime. In the UK, support for Ukrainian sovereignty is unwavering, yet we distinguish between Russian artists who are persecuted or disassociated from the government and those who actively support it. The former are welcomed; the latter are not. This competition honours a specific artistic
legacy, not a political entity. As my former principal conductor Christoph von Dohnányi, whose family was murdered by the Nazis, reminded us: those who have lived under a police terror state also uniquely understand its horrors. We must not destroy artists’ lives simply for their nationality, but we must remain vigilant against those complicit with oppression. Finally, what practical career outlook does the competition offer its laureates? The first step is to attract as many artist managers and orchestra intendants as possible, providing a platform for candidates to perform before potential employers. This is preceded by promoting the track record of past winners to build confidence. Secondly, the competition facilitates one-on-one meetings between candidates and jury members who are intendants, practising conductors, or industry leaders. This offers invaluable advice, especially when young conductors face multiple offers and must navigate their next steps. These opportunities—door openings and learning moments—are crucial for building a sustainable career. Ultimately, the competition serves within a professional framework that has improved immensely, benefiting both musicians and the public we all serve. David Whelton was born in 1954 and trained as a pianist and organist. Following an early career in education, he joined the Yorkshire Arts Association and subsequently Leeds City Council prior to moving to the music department at the Arts Council of Great Britain. In 1988 he was appointed managing director of the Philharmonia Orchestra. During David’s tenure at the Philharmonia, the orchestra became an indispensable part of British and international musical life. It has established new relationships with many of the great conductors who shaped its musical history and has initiated and developed the concept of orchestral residencies. It is recognised today as a pioneer and leader in this work within the UK.
Conducting Competitions
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