He joined the Berlin Philharmonic in 1994 and two years later he was already the principal cellist. Olaf Maninger (Recklinghausen, Germany, 1964) also directs the Digital Concert Hall of this “republican” orchestra that is managed by the musicians themselves, all of whom are sovereigns. This virtual auditorium now adds to its list of editions of the European Concert that they celebrate in unusual places every May 1, the one that took place yesterday at the Sagrada Família next to the Orfeó Català. Maninger recalls others such as the Uffizi Gallery in Florence, the Vasa Museum in Stockholm (in 1998 with Claudio Abbado) or the Basilica of Santa Maria in Krakow (in 1999 with Bernard Haitink).
What is the experience in Gaudí's temple like for a musician of his depth and career?
For musicians it's fantastic. The idea was that the European Concert should take place in emblematic and important places, and when I visited the Sagrada Família for the first time about 15 years ago I thought... this could be the perfect setting for the European Concert. But it took time as you can see.
So you were the one who pushed the idea in the first place?
There were a few of us who had that idea, but since I'm in charge, in the end it's my decision. It was somewhat disappointing for us that we tried for three years and then the coronavirus crisis hit and we had to postpone it. And then it goes and the Vienna Philharmonic came and played before us!
What a mess!
Yeah that was a disaster lol. They were playing Bruckner and now we are playing Mozart. For the musicians it is something incomparable, because you can feel the atmosphere and that amazing building, with its amazing power of Gaudi's art in that Catholic church. It still seems like a miracle to me that this could happen 120 years ago. It has a special energy.
How would you describe it?
It is a mixture of very old tradition, the Christian spirit, but also a revolutionary modernity, it is something experimental with a very, very artistic spirit. And it's like with music, you see a big shape and then a lot of detail. In small details this build gets better and better and better. Like Mozart: a great structure, you listen to the music and it seems fantastic to you. But then you see how he builds the tune on one instrument and you see what a genius he is. I like this comparison, it is what elevates me when I am in this temple.
Can you tell us some tricks the orchestra has put into practice to combat the terrible acoustics of the ship?
There is no fight. If you try to resist you are lost. You have to accept it and get the best out of acoustics. And if you want to listen to this music with the best acoustics, you go to an auditorium, you don't come here. We have the privilege of having that Berliner Philharmonie that has wonderful acoustics. But if you decide to play in a temple, you play in a temple. Here it is about feeling the energy of this extraordinary place, which is why the public takes the music as it comes.
But people feared that the Coronation Mass would sound terrible and it has been a finding. It's because of that sharp end of phrases on the instruments.
It is about not walking below the noise of the acoustics. For us it is simple because at the same time we are playing this televised concert. What the microphones pick up has nothing to do with the acoustics of the room. So it's all there, they take it directly from the players. So we don't try to tweak too much, just a little bit, for example... endings that sound a bit missing, but the tempos and phrasing don't change.
Does a veteran like you get nervous about an event like this?
It depends on the position in the orchestra. Now I am a solo cello, but in Mozart my role is simple. If it was Bilmaher playing first the oboe or the concertmaster, I suppose he would experience it with more excitement.
Can you define Kirill Petrenko in a few words?
He is as demanding with music and musicians as he is with himself. Very serious, very involved in music and always getting in line. Because it's not about him, it's always about music.
It is impossible to talk to him. He never ever gives interviews.
Yeah, and that's why he's so solid on stage. Energy is saved for what you need it for. He decides not to put it anywhere else: he doesn't spend it talking about music but making it.
Isn't it that he doesn't want to appear or that he is shy?
It is not at all. He is very eloquent. Very charming. If he decided to speak, he would do it perfectly.
How do you deal with the question of the historicist interpretation of Mozart? Today he seems like a genius only suitable for specialists.
We apply historical criteria but only a little. I like it that way, I understand that it is a matter of personal taste.
