The Edinburgh International Festival’s new director says the world of classical music has changed – but she’s concerned about its future
Right now Nicola Benedetti is not allowed to be ill. Even though she is covering her mouth as she coughs and admits that she is dog-tired this Friday lunchtime, “I’m not properly under the weather,” she insists. “That wouldn’t be a possibility, given what is happening in the next three days.”
What is happening is the beginning of this year’s Edinburgh International Festival (EIF), her first as festival director, which kicks off this evening with the opening concert, Buddha Passion.
For the next three weeks, somewhere in the region of 2,000 classical musicians, opera singers and dancers from around the world will descend on the Scottish capital to add some gravitas to the carbonated fizz provided by the Fringe. Guests this year include the likes of the Alvin Ailey American Dance Theater, the Berliner Ensemble and the London Symphony Orchestra.
Normally, the Grammy-winning violinist Benedetti would be among their number. But after the opening weekend – during which she’ll play three times – this festival, she is concentrating on her new role. That means Benedetti running around talking to staff and performers and broadcasters – and me.