“L'Auditori puts us on a par with capitals like Paris and Vienna, and we shouldn't be afraid to say so.”

Víctor Medem (Barcelona, ​​1977) is in the testing phase of the enormous institution that is L'Auditori de Barcelona, ​​trying to structure the lines of his project as the new director. Ideas range from showing pride in the educational project the venue deploys (of the 500 activities, 300 are educational) or in the chamber music hub it has become with the Quartet Casals, to working on proximity with the public or interrelation with the city's cultural fabric. Or celebrating the Catalan repertoire, which, he insists, must eventually be performed by foreign orchestras. The current director of the Schubertíada talks about today's symphonic world with La Vanguardia . His guiding principles are pride, proximity, and balance.

Is your project reformist or continuity-oriented?

It's not about being disruptive, as L'Auditori also has a series of commissions and commitments, hence the need for a director. But I'm here to implement my project using L'Auditori's many strengths, including the significant investment in maintaining the facilities in good condition. La Llanterna de Palazuelo, the only large Palazuelo in Barcelona, ​​was falling apart and has been renovated; and the investment in acoustics has been a project that had been planned since day one. Congratulations to the outgoing team.

"What would have happened if L'Auditori hadn't existed? The role it has played in fostering talent is very important."

Can you list any other of those strengths?

L'Auditori is a unique facility in Spain: five halls, a museum that has one of the best collections in the country—if not the best—a college next door that's an incubator of talent, its own orchestra that's experiencing significant growth, a band that's a benchmark... That doesn't exist anywhere else in southern Europe. It puts us on a par with capitals like Paris or Vienna, and we shouldn't be afraid to say so. Another strong point that I think is understated is its influence: just look at the list of artists who have made their Spanish debuts here. Five conductors who have previously come to the OBC will be making their debuts in the upcoming season of the Berlin Philharmonic. Perhaps they're not coming now, and that's an issue to work on; it's one of the weaker points, but Dudamel, Currentzis, Viotti, Pappano have all performed at L'Auditori... even Jakub Hrusa, the new director of the London Opera, has come here three times. Then we have the Quartet Casals, an organization linked to L'Auditori and the boom in chamber music, because I would speak of an Auditori generation, with composers like Raquel García-Tomás, Joan Magrané, Hèctor Parra... In many cases, these are creators who, coming from the ESMUC (Spanish Academy of Music) have first presented their work here, just as there are musicians at the OBC who have come from the city's higher education institutions. It's a whole movement. What would have happened if L'Auditori hadn't existed? The role it has played in fostering talent is very important.

The Andrea Motis or the Sílvia Pérez Cruz of the future must perform here first.”

You have worked as a talent scout since the Schubertiade and the Barcelona Overture.

It's my great passion, and I want to continue with the theme: that no notable talent should be overlooked, that everyone should be aware of this hall. Because just as we must be close to the public that follows us and we must be transversal in our artistic lines, we must be close to the talent. We have an ESMUC (National Institute of Cultural Studies), a Conservatori del Liceu (Liceu Conservatory). And in modern times, as influencers, the Sílvia Pérez Cruz or the Andrea Motis of the future must first pass through L'Auditori. And, finally, proximity to the city and other institutions, such as museums or universities. We must be present, breaking down the barrier of a large institution that this hall can seem like.

I have attended 250 OBC concerts in my life, I have learned the symphonic repertoire and have given vent to my love of music through that orchestra.”

He says the big boys aren't coming back to the OBC anymore. What should be done about it?

We're part of the international circuit, which is pyramid-shaped, and we have to be aware of our place. What we want is to take steps forward, and in this sense, we need greater self-confidence in what L'Auditori offers. I've attended 250 OBC concerts—I keep a notebook where I write down every concert I go to—I've learned the symphonic repertoire and have unleashed my love of music through that orchestra. I'd like more people to see that you can become a music lover at L'Auditori. We need to show proximity to the audience, build even greater loyalty, and foster talent, investing in artists and creators. As Robert Brufau said: the perception of L'Auditori abroad is very positive, better than here. The OBC has rave reviews; we're invited by the Concertgebouw and the Elbphilharmonie. Germany's leading private promoter takes us to Stuttgart and Düsseldorf: the Barcelona brand already guarantees sales. And we are aware of that responsibility, we will go all out.

The Barcelona myth, at the service of the classics?

A private promoter needs to create a narrative, engaging elements. And we also have a great opportunity thanks to our repertoire, because on the international circuit we don't fall into patterns or are an institution that must reproduce certain trends, but rather we can contribute new values, a Raquel García Tomás as part of our identity. Now we're presenting Toldrà. This is another point where I think L'Auditori must be even more influential abroad, because there's interest in the Catalan repertoire, and, in the end, it's not so much institutional communication that works, but rather with the musician. That is, when the performer is the one who recommends the score because they consider it good, perhaps someone else ends up proposing it to the director of the Bamberg Orchestra... This year, for example, the Bayerische Rundfunk is programming Gerhard, a composer who was also discovered by Simon Rattle.

It is important that contemporary creation is not seen as an isolated ghetto, but as a continuation of musical language and tradition.

You say you want to find a balance in your programming. In what sense?

Everyone comes here, more than half a million people a year, so we have to be transversal and have a variety in the programming. I like to link modernity with tradition, and not all musicians want to break with the sources of the past. It's important that contemporary creation not be seen as an isolated ghetto, but as a continuation of musical language and tradition. Only in this way will we make that music more understandable. And the idea is that when programming, we inform the composer of the context in which it will be played, with which other works on the program it will be in dialogue. Why can't we commission a cantata, which is an ancient format, that addresses a contemporary theme?

Do you agree that the trend in European venues is to reduce their orchestras' weekly programs to two days?

That depends on demand. And on factors like workload, as many orchestras participate in educational programs. The OBC, for its part, has opted for recordings, for example. And the agreement covers what it covers. I have to see what factors are included here, because there are orchestras that continue to make three or even four per week. At L'Auditori, we have 7,000 loyalty program subscribers. And there are many orchestras that don't even reach half that number. The OBC is competitive.

Does the problem of the room's location persist here in Glòries?

Now we have the facilities that activate the area, all that's left is to adapt the urban environment, which is nothing compared to what's built. I'll be part of the working groups on this issue. And I think there's a problem with parking spaces for the TNC and L'Auditori, because a lot of people come from the metropolitan area and the rest of Catalonia in private vehicles. We're talking about 500 activities, of which, by the way, 300 are part of the educational project. I have boundless admiration for this project, which is pioneering and unique. All the children of Barcelona and the metropolitan area have participated in it. And this year they introduced hip-hop to schools, so the kids can see what it expresses and what tools they have at their disposal to activate their creativity. There's a flood of children here every day.

And do you remember your first OBC concert?

I joined when I was 14 or 15, using what I earned from summer jobs. This was when Franz-Paul Decker was conducting. And I managed to bring along school friends. I remember memorable concerts: his Mahler 9th was a turning point for me. When L'Auditori opened, I'd already been hearing music at the Palau and the Liceu. The first concert here was with Víctor Pablo Pérez, and I was impressed by the grand, generous, brilliant acoustics. It changed my perception of sound.

How did you get started in auditorium management?

A bit by chance, because I worked at the Festival Haus Baden-Baden, filling a temporary vacancy. The director needed an assistant who could speak languages ​​and handle administrative tasks. I was fortunate enough to work with someone who would become the director of several leading venues. Later, I took on responsibilities at the Heidelberg Festival. And then I joined Ibercamera.

Is a symphony orchestra, which depends on public funds, really necessary?

The OBC already has a presence; it's open. But we need to strengthen people's experience with the orchestra and the band, which, by the way, gives concerts in every neighborhood. The beach concert is just one. We should revive the exchange with the Liceu and promote the free Barcelona Obertura concerts. People are asking for it. We need to find ways to interact with that potential audience. Be present at universities, for example, hold open calls for people to submit projects, such as bands that don't have a stage and could occupy it, allow entry to amateur orchestras, and hold a celebration of amateur music here at L'Auditori. And we need to be present in the fabric of cultural institutions: I like the idea of ​​the OBC's dialogue with other arts. My project includes explaining works of art through music, explaining an era through the interaction of different arts. And making tradition attractive, making it alive, enjoying it. I champion the pleasure of listening to music, not just the training.

Being a public facility, it is their responsibility to prescribe non-commercial music.

Yes, discovering music that many people don't know about, telling them that they will find a moment of fulfillment.

Will you keep the programming team?

The head of production and programming, Vero Rodríguez, who handles non-OBC and non-Banda music, complements me very well, focusing on modern music. I'm interested in the approach of series like Sitback, projects outside the usual circuits where artists can work freely with projects that a private promoter might not dare to undertake. I have to consider the workload of management at the institutional level and determine how much time I can dedicate to programming. I'll try to make the programming as personal as possible and in conjunction with the teams.

Do you like the OBC in the hands of Ludovic Morlot?

His project began three years ago and he has a contract until 2028, so at the halfway point, I'm sincerely happy with the work he's doing. He's a very experienced person who knows the inner workings of an orchestra well, and he's deeply involved in the day-to-day running of the OBC and its recordings. The French tour was his initiative. He's a respected and admired conductor abroad, too. His name speaks volumes. And he's brought a certain coherence to his programming; he's very clear about the works he wants to perform and knows how to construct programs.

Which European programming trends would you embrace and which would you reject?

I don't like the tendency toward hyper-segmentation of programming. That is, if you like early music, do you go to Llums d'Antiga and then skip concerts in the fall? I like the idea of ​​a cycle better, and putting it into context: we'll soon have another Beethoven year, and I think it's good to contrast current creations with those of the great classics, commissioning works and asking the composer what their take on Beethoven or others is. I also see that contemporary creations are heard, but there's a lack of 20th-century music. Ligeti is rarely heard at L'Auditori. Or Krenek. The OBC is very flexible; it's taken on a large amount of repertoire over the years and adapts better and better. I like that level of demand.

Do you agree with the season Brufau is leaving behind?

I'm happy, yes, because I'm the one who has to sell it, and I want to try to ensure that subscribers are treated well and reward loyalty. I don't think the subscription model should be abandoned because it's "declining." If it doesn't work, we have to see why it doesn't work. There are orchestras in Europe that have many, and I think there's some room for recovery. The audience is also part of a project, not just the conductors, guest artists, and musicians. What moves me most at OBC concerts is the final applause, because people get to know the musicians; it's very personal.

Will they look for a replacement to run the Ciutat de Clàssica?

We'll meet soon to discuss it. I want the band to be more active there. I also don't see overseeing the festival in conflict with my position, working with the other venues and organizations involved.

What do you think about the fact that the invasion of Ukraine has closed the door on Gergiev and the Mariinsky?

Cultural organizations must be part of society on pressing issues; they cannot be isolated. But at the same time, we are transversal; we are a public entity that cannot prescribe a priori assumptions. We have our values, but we cannot close the door to anyone for ideological reasons.

If Ibercamera brings the Mariinsky, will it find the L'Auditori door open?

When the issue is sufficiently mature, we will discuss it, because it has been seen that the conflict is very complex. A few months ago, it was said that it would be resolved in three days, but it has turned out that it is not that easy.