Lukas Wittermann, Managing Director of Gstaad Menuhin Festival & Academy, gave GstaadLife a behind-the-scenes look at what it takes to bring the Gstaad Menuhin Festival to life. From leading the team to managing the budget and overseeing the complex logistics, his role keeps the operation moving in harmony.

How long does it take to organise the festival?
It’s a year-round operation with many moving parts. The artistic planning often looks one to three years ahead, shaping the creative vision of the festival. Our entire team works together to bring that vision to life, translating big ideas into the operational framework that makes it all possible. That includes everything from artist travel and rehearsal schedules to ticketing, sponsorships, and printed materials for the next edition – already circulating by mid-festival. Each department runs on its own rhythm, yet everything comes together in harmony. The operational team also collaborates closely with the board of directors to shape the festival’s long-term strategy – an essential part of its continued evolution. As we like to say: the end of one festival is already the beginning of the next.

What are the biggest logistical challenges of organising such a large event in this location?
The biggest challenge is bringing all the puzzle pieces together at the right time. Take Bellini’s “Norma” on August 22. It’s three hours in the festival tent, but behind the scenes are sponsors, press, soloists, orchestra, choir, set designers, stage hands – and teams making sure the audience and all guests present are welcomed, seated, and safe throughout the evening. Multiply that by sixty concerts, and you see the scale. The location adds complexity too: we’re in a beautiful but demanding region, so we bring in large instruments at the start, store them locally, and distribute as needed. Guest orchestras may bring their own, while smaller ensembles are more flexible. Presenting Swiss orchestras helps to reduce the effort and impact of transport. Of course, occasionally things go wrong – once, a key percussion instrument was mistakenly left behind in the “do not pack” area before a tour. We arrived at the next venue and … no instrument! Let’s just say: the pressure was on. But thanks to our network and the musicians’ contacts, we found a solution. In the moment, it’s stressful – but afterwards, it’s one of those stories we can laugh about.

How is the 2023 sustainability pledge going?
The pledge helped us set clear targets. We tackled quick wins first and are now focused on transport – our biggest emissions source, especially artist and audience travel. Public transport here is harder than in Zürich, and some concerts end too late for return journeys. But we now offer discounted travel for all our guests through an SBB partnership. Artist travel is essential – it’s part of the job. But where possible, we’re working with agencies to plan more sustainably. It’s a step-by-step process; we’ve launched the Mission Menuhin label to share updates and areas for improvement because transparency matters.

What’s your favourite thing about your job?
I love working with both the material (the music and culture) and the strategic side. But the real highlight is when everything comes together: the applause after a concert, a sponsor thanking the team, or someone saying, “What a beautiful evening.” Moments like these show that we’ve made people happy – and that gives real meaning to what we do.

Is there a concert you’re especially looking forward to this summer?
I’m really excited for the Hagen Quartet’s farewell tour. They’re one of the world’s best string quartets, and they’ll perform Brahms’ Piano Quintet with Mao Fujita in Saanen Church on August 21. I used to be a cellist and played string quartet music for five years – it’s my favourite ensemble form. This concert feels very special to me.

ANNA CHARLES

To book tickets for the festival, visit www.gstaadmenuhinfestival.ch.