Architect of Lucerne Festival’s modern era
Michael Haefliger has served as Executive and Artistic Director of Lucerne Festival since 1999, transforming the Swiss institution through bold artistic vision, pioneering initiatives and a steadfast commitment to contemporary music and young talent. As he prepares to step down at the end of 2025, Haefliger is being recognised with ISPA’s International Citation of Merit Award, honouring a career that has redefined international music festivals and left an indelible mark on the global performing arts scene. Interview by Florian Riem
Forty years ago, in 1985, you made your debut at the Luzerner Festwochen (now Lucerne Festival) as a violinist. Could you share your impressions of that first visit and how your background, having grown up in Berlin and studied in New York, influenced your experience?
I don’t think I could have foreseen at that time that I would have such a
career. I had just graduated from Juilliard and was focused on building my career as a violinist. My debut concert in Lucerne was an incredible moment.
I performed Beethoven’s C minor Sonata, a new work by Swiss composer Peter Mieg, and the Richard Strauss Violin Sonata—a piece I particularly love—with my brother Andreas at the piano. It was a very hot summer’s day, almost
40 degrees Celsius in the hall, and my fingers were sweating, but it was still a great concert.
Having grown up in Berlin, my background was quite international. My father was a tenor at the Deutsche Oper in West Berlin, and my brother, sister and I were all born there. We later moved to Munich when my father became a professor. I went to high school in New York and studied at Juilliard, so Berlin already felt like a distant memory. Lucerne, unsurprisingly, was very different from today. The KKL Luzern (KKL), the city’s culture and convention centre, had not yet been built, and our recital took place in the old city hall, a venue seating around 300 people.
When did you begin to consider working in arts management?
I had a dream of creating my own festival in Davos, focused entirely on young artists. We had a holiday home in Davos, and my father was born there, so I felt an innate connection to the city. I got in touch with the local authorities, and eventually they agreed to create a new festival. It was called “Young Artists in Concert”, an event dedicated to young artists, without any “stars” or teachers, and it began one year after my debut in Lucerne. Forty years later, the festival is still held annually and is led by great directors who uphold the same vision and spirit.
In 1999 you left Davos to become Executive and Artistic Director of the Lucerne Festival. What was Lucerne like at the time, and how much has it changed in terms of size and character?
It was a bit smaller, with a budget of around CHF 9 to
10 million, which has doubled over the years to just under
CHF 20 million today. It has grown a lot, with orchestras
like Berlin, Vienna and Chicago becoming regular guests
at the festival. At the beginning, we had major residencies
with Chicago Symphony and Daniel Barenboim. Then, the Lucerne Festival Orchestra was created once again with Claudio Abbado.
What do you mean by “again”?
Actually, there was an orchestra—the “Swiss Festival Orchestra”—which was disbanded around 10 years earlier. But in 2000, Abbado suddenly decided to revive the festival orchestra. It became a huge success and is now a fully established part of the festival. In 2004, with Pierre Boulez and our Academy, the festival evolved again, and the Academy and Festival Orchestra, as projects within the festival, became its two main pillars.
Let’s talk a bit more about the Lucerne Festival Orchestra. How did this idea actually come into being?
I think it was always Abbado’s dream. We were in touch regularly about various projects, but then in 2000, he asked me to come and see him in Salzburg. He presented me with this idea, and I said: “Well, it’s a fantastic idea, let’s try it!” I knew it would be expensive and that I would have to work hard to raise the necessary funds. But I succeeded with the support of my chairman, who recognised the need to do this. It was not easy, but we made it happen, and the Lucerne Festival Orchestra performed its first concert in 2003. Abbado wanted his close friends to participate, so it became his “dream orchestra”. He was probably the first conductor to create such an orchestra with a major institution behind it.
So he selected all the players himself?
Yes, he did.
Is that still the same today? Does Riccardo Chailly have the same privileges?
Chailly certainly has a strong influence on the selection of players, although he tends to talk to the principals who then consult their own sections.
How do you make sure the orchestra, and the idea behind it, stays young and alive? How do you prevent it from becoming a routine ensemble?
The orchestra truly has its own identity. It grew tremendously with Chailly, especially in terms of repertoire. It may be less of a “Chailly Orchestra” than it was an “Abbado Orchestra”—when everyone gave their all for Claudio—but that’s not a bad thing either. We knew that the time with Abbado was limited, and after he passed away, many people wondered how the orchestra would continue.
Chailly was probably the best solution, as he was independent from Abbado. He knew and had worked with him, but he was not trying to do the same thing. He really developed the orchestra with his repertoire choices and made it
more independent. The musicians also wanted to work with other conductors, so we began inviting new artists. The orchestra has become more of a “Festival Orchestra”
now, and the quality is still excellent. Some musicians didn’t want to continue after Abbado’s death, and we understood, but we found others who could keep the
spirit alive.
Where do the musicians come from?
We have some musicians from Switzerland, but it’s not a Swiss orchestra. Many come from Germany, Austria and Scandinavia, with fewer from the US, Italy and Spain.
How much time do the musicians actually spend with the orchestra per year?
We have two residencies. One is in spring, which lasts around a week, and one is in the summer. This is a longer residency, lasting two weeks or more, depending on the number of concerts; tours are in addition to that.
Are there any special moments in the orchestra’s history that are especially memorable?
The beginning, of course, was incredible. Abbado was at the peak of his career, and hearing the orchestra for the first time, after three years of hard work, was simply amazing. The first programme included Debussy’s La Mer and The Martyrdom
of Saint Sebastian, and Wotan’s Farewell from Wagner’s The Valkyrie; the second performance was Mahler’s Symphony No. 2. Abbado conducted all the concerts, and we did extensive tours, including major residencies in Tokyo (2006) and Beijing (2009).
How would you characterise the orchestra’s sound? Is it a German orchestra or an American one?
I would say it’s a blend between a German and an Italian orchestra, with many wind players from Spain. But for me, their nationalities don’t really matter. The musicians all
had a special relationship with Abbado and were there for him, especially in the beginning. Today, the orchestra has become more independent, and it performs with great conductors. This year, for example, we will have Chailly, Sir Simon Rattle and Yannick Nézet-Séguin. It’s truly the best of the best, and these conductors really want to be involved with the orchestra.
What is the idea behind the Lucerne Festival Academy?
The idea originated from my work in Davos, where I had promoted young artists and contemporary music, often with the composers present. When I joined Lucerne, I felt that our masterclasses could use a bit of a makeover. I wanted to create an academy, an institution that would serve a whole generation of young musicians, eager to learn about contemporary music, so I approached Pierre Boulez.
And the rest is history…
No, I wouldn’t say that. It just happened. I was very fortunate as Abbado wanted a festival orchestra and Boulez agreed to create a new academy. It was just the right time for both of them career-wise, and for the Lucerne Festival. It was a great coincidence; things could have turned out very differently, as often conductors simply don’t have the time.
As for the Academy, thanks to the inspiration and energy behind the project, it has now become a fully integrated part
of the festival, which was very important. This allowed us to move forward, from Boulez to Wolfgang Rihm. While Boulez was also involved with conducting and the conductor workshop, Rihm placed a lot more emphasis on the composition aspect
of the academy.
Lucerne is a very popular tourist destination, and the festival plays a big role in promoting the city’s image. How important is the festival for the locals, and for the region?
Every festival director must ask themselves that question, and I think that the festival is very important for Lucerne. Sometimes, the city might not even realise how significant
it is in terms of international reputation, networking and artistic excellence. Generations of young people have up as part of the festival team, volunteering or
working with us in the summer, and many have become accustomed to attending festival performances. Karajan even became a household name in the city during the festival’s early years.
It’s not easy to make the festival accessible and relatable to everyone. Recently, someone told me that they would like to attend, but they didn’t have a suit and thought that they would feel uncomfortable in the hall. So, I encouraged them to attend one of the outdoor concerts where you can bring a picnic and watch the concert on a large screen outside the KKL. We also have a street festival, and a new Piano Fest which features rap, jazz and pop concerts, which Igor Levit curates. Another popular event is our “40min” free concert series which often features major artists.
We have many regular visitors, including some from Japan who immerse themselves in the festival for three weeks every year. They stay in modest three-star hotels so that they can spend their money on tickets to see the great orchestras—it’s like a pilgrimage for them.
It’s important to have these different events as they bring a lot of enjoyment for our guests and motivate us to do all the fundraising, which is substantial. We are 90 per cent self-financed, so we rely on fundraising and ticket sales. But I think the number one rule is to be involved and to interact with the city. However, this can also be quite a challenge
when you’re only a festival and don’t have concerts throughout the year.
Lucerne Festival is renowned for its artistic excellence, but you have also incorporated social and geopolitical themes that have influenced the festival’s identity. Could you tell us more about this approach and its impact?
One of our most important themes was Prima Donna in 2016, when we presented 14 female conductors, which at the time was a significant and challenging undertaking.
It was well received, and I think it was an important step not only for us, but also for other institutions who were inspired and encouraged to promote change. In 2019,
our theme was Power, with the aim of approaching this socio-political topic from a wide variety of perspectives, such as political, erotic and psychological facets of power. Then, in 2022, our focus was on diversity. This sparked some resistance among parts of the public and media, which was challenging but ultimately productive. By pushing boundaries, we opened up important conversations. For example, we featured the Chineke Youth Orchestra at the beginning of the festival and the Chineke Professional Orchestra in the final performance. This was a powerful statement which resonated widely and sparked meaningful dialogue among audiences, politicians and the broader communities of Lucerne.
At present, there are significant debates and challenges around diversity and inclusivity in the United States. How do you think the arts community can respond to and engage with these issues?
I think it’s very important for us to address these issues—not just by presenting certain themes, but by making them part of our everyday work. We must always be aware that many artists come from different backgrounds and face disadvantages because of their race or origin. What Abreu accomplished in Venezuela with El Sistema
was truly remarkable. Many became incredible talents, working together in orchestras, engaging with society, performing for communities and becoming arts leaders.
For me, El Sistema is proof of what can be achieved with the right ideas and concepts. Chineke!, which we presented in 2022, is a similar UK-based organisation, and there are others. They all share the desire to create a better future for young people and believe that everyone can have opportunities, no matter their background.
In June, you will receive an ISPA lifetime achievement award, recognising your outstanding contribution to the arts. Given ISPA’s international reach and American roots, how do you see the relationship between European and American arts communities today, especially in light of current social and political challenges?
It’s a great honour for me—ISPA is a leading organisation in the arts, and one of the few that truly embraces all artistic disciplines, which is wonderful.
My connection with American culture began early. I was 16 when I first came to New York, attending high school in a predominantly Puerto Rican neighbourhood. Speaking Spanish allowed me to connect with the local community in a meaningful way. This early experience showed me both the incredible diversity of American society and the importance of creating more inclusive environments within the arts.
The relationship between European and American arts communities has always been one of mutual inspiration and exchange. We’ve learnt so much from each other over the decades. The United States has historically been a beacon for addressing complex issues like migration, representation and equality through the arts.
Even though addressing these issues can be a big challenge, I am sure that it will find a way back to its values and principles. There is a bright side to crises—you struggle to overcome them, but in doing so, you learn, grow and emerge stronger
than before.
Finally, what about your own, personal future plans?
I am in touch with several organisations in the cultural world as to possible projects. After 26 years of dedicated service to Lucerne Festival I want to take a few months off, reposition myself and develop my strategy for the future years. Clearly, I have a strong network all over the world, and I would still like to create meaningful projects in the arts, with the emphasis on creating something new. But you never know where the wind will blow you. Christopher Columbus set out to discover the westerly route to India, but he ended up discovering America. I like that vision very much.
