After more than two decades as Artistic Director of the Gstaad Menuhin Festival, Christoph Müller reflects on the challenges, transformations and triumphs that defined his tenure. Juliette Barber learns what lies ahead as he prepares for his new chapter in Ascona
When you joined the Gstaad Menuhin Festival in 2002, what kind of opportunity did it represent, and what drew you to take on the challenge of shaping its artistic future?
When I arrived, the festival was at a difficult point. The years following Menuhin’s departure had been turbulent, and the Board asked me to redefine the festival’s direction. My first step was to give it a clear structure, introducing a chamber music component, a symphonic programme, and gradually building an academy. That took time. We only launched the Gstaad Conducting Academy, our final academy format, in 2014, and it has since grown into one of the festival’s most important initiatives.
The real challenge was to re-establish the festival’s profile and make it attractive again – to both artists and audiences. In 2004, we welcomed pianist Alfred Brendel as Artist-in-Residence and hosted the London Symphony Orchestra for the first time. These were significant milestones. I also introduced the idea of building an “artist family” – musicians who return regularly and are loyal to the festival, just as we are loyal to them. Many of them, like Khatia Buniatishvili, Sol Gabetta and Patricia Kopatchinskaja, began in our young artists’ programme. Over the years, they grew alongside the festival, and with them, so did our audience, doubling from 14,000 to 28,000. That connection between artist and audience is one of the real keys to our success.
How does that look in practice – creating exclusive programmes for the festival?
Take Fazıl Say, for example. He’s our 2025 Artist-in-Residence. He’s performing three concerts, and we developed the programmes together, all inspired by the festival’s theme. That’s what sets Gstaad apart: we’re not just booking touring acts; we’re co-creating something new. It gives artists the chance to express themselves more fully and gives the festival its unique identity.
In recent years, the festival has been shaped by the overarching theme of “Change.” What was the thinking behind this?
Before the “Change” cycle, we focused on themes like cities – Vienna, London, Paris. Light, accessible themes suited to
a summer festival in the mountains. But I wanted to show
that even a festival in a tourist region can respond to the world around it.
So we created a three-year arc: “Humility” in 2023, “Transformation” in 2024, and “Migration” in 2025. Each theme is broken into four sub-themes – this year we have “origin”, “exile”, “inner emigration” and “nostalgia”. These help the audience to engage with the ideas in a more playful and human way. It’s not about politics; it’s about the emotional and artistic dimensions of change. And it worked – audiences grew, and people really connected with the deeper meaning behind the programming.
What are some of this year’s highlights?
There are over 60 concerts, so it’s hard to choose, but some moments are very close to my heart. This year, we open with Handel’s Israel in Egypt, conducted by William Christie and performed by Les Arts Florissants. It’s a powerful, moving work that fits beautifully with the theme of Migration.
Other highlights include Verdi’s Requiem with mezzo-soprano Elīna Garanča; recitals by pianists Khatia Buniatishvili and Víkingur Ólafsson, who makes his debut here, and of course, Fazıl Say’s residency. We’re also welcoming countertenor Jakub Józef Orliński with his “BEYOND” programme.
It’s important to mix familiar faces with new discoveries. That blend is part of the festival’s identity – never repeating the same formula, always searching for meaningful, artistically interesting programmes.
After more than 20 years, you’re handing over the reins to Daniel Hope. What do you hope he inherits, beyond programmes and structures?
Daniel is a very different kind of figure – he’s a performing artist, someone who belongs on stage. I’ve always been more behind the scenes. But what connects us is a shared respect for the Menuhin legacy. I’ve tried to translate Menuhin’s spirit into a lively, modern festival, and I’m confident Daniel will continue that in his
own way.
It’s healthy for a festival to change hands creatively. New leadership brings new energy and vision. I’m very happy with this choice, and I look forward to returning in the future – as a visitor.
You’ve dedicated nearly a quarter of a century to the festival. Did you ever meet Yehudi Menuhin, and has his philosophy influenced your work?
No, I never met him, but I worked hard to understand him – his curiosity, his open-mindedness, his belief in music as something more than just performance. That became part of my mission.
It’s also why I created so many new platforms – academies, formats for amateurs, children and students. These didn’t exist before. But I saw them as part of the Menuhin spirit, and now they’re thriving. That’s where we are now, where all these projects are flying. And I feel that we’ve remained true to Menuhin’s spirit by making the festival a place of learning, of openness and of human connection.
Looking ahead: from 2026, you take over as Artistic Director of Settimane Musicali Ascona. What draws you to this next chapter?
It’s a beautiful opportunity. The festival, located in the south of Switzerland, has a rich 80-year history and is set in a stunning, tourism-driven region, not unlike Gstaad 20 years ago. I see enormous potential, and I believe I can bring the right experience to help it flourish. It’s also a fresh challenge: new people, new culture, new language – I’m excited to begin.
