In various media we have read that the result of this edition has been a success, as the pre-pandemic revenues have been recovered. Close to EUR 900,000 has been achieved in the box office. It's great news. We all know that without money there is no rock and roll. And there's no rock and roll or classic. That is true.

But it seems to me that this is to stay on the surface to stand out as the great news of the Fortnight. That goal should be more; what we really want to achieve through these kinds of festivals should be to increase the musical level of our citizens. Surely, it is easy to say that money is not “the first” for those who are not managing the festival. It's true. But managers must take into account the opinions of those who have other motivations and have a broad vision.

One of the issues that has to concern the Fortnight is
the renewal of the public. We all know that the great public in the Fortnight is much larger. You see it in the auditorium, you don't need more checks. Anyone can feel young in a classical music concert, and especially in the Fortnight, when they see the environment. And be careful: we must continue to care for that loyal audience, no doubt. The challenge is to attract a young audience, which is the future of this festival and which will ensure the maintenance of the cultural level in our people.

I am sure that the managers of the Fortnight think the same thing. And they will reflect on how to get that young audience. It's not an easy job. As always, it would require investment, an investment of many of those EUR 900,000. Surely, the task of the Fortnight throughout the year should not be limited to the organization of some concerts held in August. Throughout the year, work should be done to promote and promote classical music.

For example, this travelling Fortnight, one of the cycles of each edition, should be done throughout the course to bring classical music closer and promote among young people, with the strong support of the Education and Culture departments of the Basque Government.

Another issue
that needs to be considered – and I have a positive opinion on this subject with some nuances – is the kind of programme that is offered. It is perfectly understandable that in order to retain this ultraclasist audience that goes year after year to the Fortnight, we turn to programs full of these works that are heard with satisfaction over and over again. We could say that the popular classics. And I have to acknowledge that in this edition I have listened with great pleasure to works such as the Mozart Requiem, the Carmen Opera, the fantastic Berlioz Symphony or the Fire Bird offered by the Radio France Orchestra. It must also be acknowledged – and here the nuances – that the Musical Fortnight is making a great effort to introduce less heard and less trilated works: The execution of Stepan Razin by Shostakovich, the Ravel Shérézade overture or the Beethoven Solemnis Missa, which is not heard so often. Thank you. But my proposal would be to include contemporary music works in the main cycle of this festival, Kursaal. Of course, we know there is a cycle dedicated to that music, but this year only four concerts completed the cycle. Yes, we know that music is not liked by the majority, but it must be encouraged. In addition, we in the Basque Country today have excellent composers, and we could offer premieres of these composers. By the way, we would give impetus and visibility to Basque music, which could also become a characteristic element of this festival. I really appreciate Ravel every time he shows up, he is surely the best Basque composer of all time, but it would not be bad if other Basque creators programmed more often, both those of before and those of now.

I also miss Victoria Eugenia. For reasons I don't know, there are few concerts there, although it's a unique space for chamber music, much more gathered and with good acoustics. What is more, I think it would be interesting to strengthen the chamber music cycle with more proposals. No doubt, the cloister of the San Telmo museum has its charm, but the sounds of the outside don't help, and it's an uncomfortable place for the public.

I do
not want this article to be the rosary of criticism. On the contrary, I would like to have a letter of suggestions. And among them, a clear one: I think the Fortnight should forget the idea of offering represented operas. Surely, the Kursaal does not offer the right space, nor the budgets for such a large festival, does not leave enough room for a good opera show. This year’s Carmen Opera House failed, was poor, and this festival is not worth it. Fortunately, director Patrick Alfaya has announced that next year we will have opera in concert version. Much more dignified, if high-level production cannot be offered. At ABAO they do very well. Let us leave, for the time being, the opera monopoly.

Of course, I cannot fail to mention the impression that this 85 edition has left me. I haven't been able to go to all cycles, it's almost impossible. But after going to some of the most outstanding concerts of the most important cycles, we must highlight the high quality of the participating orchestras, including the Scala of Milan, with Riccardo Chailly in front, and the Radio France Orchestra, with Mikko Franck in the lead, with its sparks.

There have also been other appointments, but less fortunate ones, such as the Carmen Opera House I mentioned earlier, or the Beethoven Solemnis Missa by the hand of the Euskadi Orchestra, together with the Donostiarra Orpheon.

That is true, the warmth of that loyal audience that comes year after year is maintained. The magic of music can do everything. But such a festival cannot leave it all in the hands of magic or a routine. Much remains to be done.