By
THIRSTY
Natalia Klingbajl became the manager of the NFM Wroclaw Philharmonic Orchestra in 2011. Since then, she has been responsible for its international cooperations and artistic
programming, as well as its touring, commissioning of new works and recording
activities. Her purview has also included the development of the Orchestra’s
relationships with a broader range of guest conductors and soloists. In September 2015, the National Forum of Music’s
new home in Wroclaw, Poland, featuring an 1,800-seat concert hall and three
smaller recital halls, was opened. As part of her work, she is also responsible
for the artistic use of the concert hall’s adjustable acoustics systems.
Stay Thirsty Magazine was
pleased to visit with Natalia Klingbajl at her office in Wroclaw for these Five
Questions for the magazine’s first ever behind the scenes look at orchestra
management.
STAY THIRSTY: The
NFM Wroclaw Philharmonic is on a national tour in the United States under the
direction of Maestro Giancarlo Guerrero. How long does it take for a major
orchestra to plan a project like this? What are the elements that are required
to make it happen?
NATALIA KLINGBAJL: Our
first discussions with Maestro and Opus3 Artists took place more than 2 years
ago, but the majority of work has been done over the last year. Of course,
music-making is the most important reason for doing this, and we are extremely
happy to be touring with Giancarlo Guerrero and wonderful soloists like Bomsori
Kim, Piotr Anderszewski, David Fray and Janusz Wawrowski.
 |
| NFM Wroclaw Philharmonic Orchestra |
But when you travel to
another continent with a group of 100 people and all of the orchestra’s
instruments, it also becomes quite a logistical endeavor. Having this in mind,
I’d say that having trusted partners is crucial. We had the pleasure of working
with Opus3 Artists while touring US in 2012 and I am glad we now have the
opportunity to work with them again this during the Orchestra’s return.
STAY THIRSTY: Apart
from the commitments to various venues on a foreign trip, what is the process of
choosing the repertoire for the orchestra to play on a tour? Who has the most
input and who has the final decision? How much rehearsal time is necessary to
prepare for a tour?
 |
| Maestro Giancarlo Guerrero |
NATALIA KLINGBAJL: The
decision lies with the Music Director, but it is a dialogue. We are very happy
that Maestro Guerrero is keen work on Polish repertoire and the works of such
composers like Szymanowski and Lutosławski. We always try to include the works we
will tour with in our concerts in Wrocław before we take them on the road. It
allows for more artistic freedom later on. With repertoire of this size, we
started including them in our programs dating few months back. David Fray, who was
our soloist in Florida, performed with us last June and I believe this was the
first pre-tour performance we gave.
STAY THIRSTY: How
many members of the orchestra travel? How many support people are necessary and
how do the instruments move from venue to venue? How do you handle the wardrobe
requirements and any special needs of the musicians? Who is responsible for
making sure everyone is on the airplane, and what happens when someone is
missing or late? What contingency plans do you have if a hotel doesn’t have
enough rooms?
NATALIA KLINGBAJL: With
a group of 100 people, you plan those things early and in advance. Airplane
tickets, rooming lists, local transfers, there is little space for
improvisation. The number of support staff varies for each orchestra, but in
our case, it is five people plus our partners from Opus3, who put the tour
together for us, and who know the presenters, halls and hotels. If somebody
would miss their plane, that person would have to figure the additional travel
themselves, but we do try to keep an eye on everyone and make sure we avoid
such situations. Things happen. In Warsaw, the night before we took the flight
to Miami, the hotel had a booking problem and two of our players turned out not
to have a room. It is never pleasant, especially when it happens in the middle
of the night, but I believe that with a bit of kindness, you can always find a
solution. In this case, the hotel had transferred those two musicians to an
upmarket hotel around the corner.
STAY THIRSTY: Are
the costs of the United States tour underwritten by the Polish government or by
orchestra patrons? If not, how do you cover the costs of such an extensive
tour?
NATALIA KLINGBAJL: Apart
from the fees which we are receiving from presenters, the remaining cost is
being covered from the Orchestra’s budget. We were also lucky to receive the
support of the Bank Gospodarstwa Krajowego (Polish development bank) and LOT
Polish Airlines.
STAY THIRSTY: How
do you handle illnesses and injuries of the musicians on the road and what contingency
plans are there to make sure that the performances go on as scheduled?
NATALIA KLINGBAJL: There
are different situations. You don’t wait until it is bad but take actions the
moment when someone is starting to feel unwell. You try to provide additional
rest, basic medication, etc. When it is needed, you call a doctor. In the
string sections, we have 60 players. If someone gets ill, it is possible to
give some concerts without him or her, until they get better. During my 10
years with the organization I have been lucky not to have a key wind, brass or
percussion player ill while on tour. I hope it will stay this way, but in the
worst case, I guess you look for someone who could step in, and who is
available in the area where you are. While on this tour, for two concerts, we
will be joined by two American players. We’re lucky – music is a universal
language and meeting colleagues from other parts of the world is usually a
great pleasure.
(Giancarlo Guerrero photo: credit Tukasz Rajchert)
Links: