Historically accurate, lively, surprising.

I would organize a large-scale, citywide music theater project that combines historical performance practices with contemporary art: Baroque music in dialogue with modern architecture, installations, dance, and digital art—spanning Potsdam’s palaces, gardens, and urban spaces. A festival within a festival that brings the past, present, and future to life in equal measure.

That moment just before the first concert, when the city slowly starts to get into the festival spirit—when the artists arrive, rehearsals begin, and you can feel that Potsdam is about to transform into a musical universe for a few weeks.

To the parks—especially the quieter parts of Sanssouci or the riverbanks along the Havel. Nature, open spaces, and silence are the perfect antidote to the hustle and bustle of the festival. Or I might just enjoy a delicious pasta carbonara at 11-line.

I would like to see more discussion of visions for the future: new formats and new ways of presenting music, as well as the possibilities for further internationalizing the festival.
And the question that we really shouldn’t have to ask so often is that of the “relevance of early music”—because it is no longer a matter of justification, but rather an artistic reality with enormous social resonance.

I would organize a large-scale, citywide music theater project that combines historical performance practices with contemporary art: Baroque music in dialogue with modern architecture, installations, dance, and digital art—spanning Potsdam’s palaces, gardens, and urban spaces. A festival within a festival that brings the past, present, and future to life in equal measure.

That moment just before the first concert, when the city slowly starts to get into the festival spirit—when the artists arrive, rehearsals begin, and you can feel that Potsdam is about to transform into a musical universe for a few weeks.