EDINBURGH.- Not long into an interview with violinist Nicola Benedetti, there was a knock at the door.
“Ohhh, chips!” she whispered excitedly as a takeaway carton of haggis and fries entered the room. “I’ve been in meetings since 8 o’clock this morning. Do you mind?” A pattern quickly emerged: a question, a tidal wave of thoughts on the profundity of art, a pause for breath and then, eventually, a chip.
“I think I’m in a good position to be saying, ‘Here’s why chips taste fantastic’ to somebody who hasn’t tasted them,” said Benedetti, who, in addition to her work as an acclaimed instrumentalist and educator, recently began her tenure as the director of the Edinburgh International Festival. She was describing her approach to the age-old question of attracting new audiences.
That process “involves the disarming of prejudice,” she said, “but doing so in a way that still absolutely has integrity, that maintains and preserves the integrity of the art forms that we have presented and the tradition we’ve upheld for 75 years, and by not apologizing for what we do, not trying to change what we do.”
Benedetti, 35, is the first Scot and the first woman to lead the festival since it began in 1947. For many, the appointment came as a surprise. “I always thought that she was keen to expand in that direction,” said Richard Morrison, the chief culture writer for The Times of London, adding, “that did rather shock me, that she’d be prepared to devote quite so much of her time and energy to that huge project.”
Although Benedetti has had to be more selective in her future repertoire, and is more interested in consolidating existing musical partnerships than she is in finding new ones, she has been reluctant to press pause on her performing altogether. “Taking on this role meant I really had to double down on my commitment to continually improving as a musician,” she said.
She premiered James MacMillan’s Violin Concerto No. 2 last fall, and is touring Karol Szymanowski’s second concerto with orchestras in Berlin, Manchester, England, and Boston this month. She has even restarted sporadic lessons, with violinist Andrea Gajic, to help regain confidence after a wrist injury that forced her to pull out of a residency last summer at the Aldeburgh Festival in England.
Her brain, she admitted, goes “in 20 different directions at once.” But her aim for the Edinburgh festival is focused: “to provide the deepest possible experience for people. We’re unapologetic and uncompromising on the weight, depth and profundity of the art that the festival presents, to the maximum number of people and the broadest possible audience.”
Morrison said that her vision is not elitist, but that it also does not sacrifice excellence, “which, in a way, is slightly contrary to what the politicians and the bureaucrats are pushing towards in both England and Scotland.”
Benedetti’s goal of bringing in broader audiences is one that was shared by her predecessor, Fergus Linehan, who incorporated pop music into the festival for the first time, in 2015. Though her background suggests she’ll lean more toward the fine arts, Benedetti confirmed that pop will still be programmed.
“The diversity of music that we hear is going to remain,” she said. She wouldn’t be drawn on specifics of programming, but expect a bigger emphasis on Scottish voices and, because of sustainability targets, “deep dives” into a more select group of international orchestras. “When you’re flying 90 people from anywhere in the world to Edinburgh, I would like audiences to really understand why we chose them,” she said. “What’s special about their sound, their identity?”
There will even be an attempt to break down traditional genre boundaries, and “recategorize through intensity of experience, and type of experience,” Benedetti said. How does she plan on selling the festival’s more traditional audience on all of that? “I have a lot of trust in people,” she said. “And I expect a lot from them.”
Benedetti enters this role at a time when British arts organizations are struggling. Last fall, the Edinburgh Film Festival went into administration, which is similar to bankruptcy in the United States. In November, Arts Council England announced upheaval-inducing funding reallocations. That was followed in December by reductions in the Scottish government’s own budget for 2023-24, including a 7 million pound ($8.46 million) cut to Creative Scotland, the country’s national arts organization.
The Edinburgh International Festival’s core funding is expected to remain at the same level for 2023-24, but, with rising costs and inflation, a standstill budget amounts to a cut. Will putting an international Scottish soloist with a national voice in this leadership position help attract private donors?
“The great unknown is how much, in a really tricky climate, the Benedetti factor will end up benefiting the festival,” said Brian Ferguson, an arts correspondent for The Scotsman.
What happened to the Edinburgh Film Festival, Benedetti said, “heightens the acuteness of everybody’s vulnerability, and the need even more to be bold, clear and ambitious.
“And not just get a marketing company to write statements about why you’re relatable to people,” she added. “The uncomfortable but necessary position of the festival is one where natural tensions lie.”
If Benedetti is ambitious, that stems from her father, Gio. An Italian émigré who left school in Scotland at age 15, he would later embark on a series of financially successful, idiosyncratic business ventures in dry cleaning, cling-film dispensers and first-aid kits.
“He had a real spirit for change, for making stuff happen, and was very, very ambitious about owning something, and about making money,” Benedetti said, adding, “he’d be the first one to say that, he’s not bashful at all about that.”
She’s inherited her father’s uninhibitedness. When asked what kind of house she grew up in, she replied, “a big one.” After first picking up the violin at 4, Benedetti swapped the picturesque Ayrshire village of West Kilbride in Scotland for the “extreme environment” of the Yehudi Menuhin music school in Surrey, England, five years later.
“If your priority in life is not to play your instrument to the highest possible level, I would not encourage people to go into that environment,” Benedetti said, but then defended the school’s specific commitment to excellence. “What do we want from the world? Do we all really have to be the same? Does everything have to follow one exact format?”
After winning the BBC Young Musician of the Year competition in 2004, her public profile raced ahead of the security she felt in her own playing. “I didn’t win the Tchaikovsky Violin Competition, I didn’t win the Joachim Competition — that’s not what I won,” she said. “So in terms of my violinistic chops, I had a long way to go, in full view of the public.”
To make matters worse, she added, “I was sometimes in a total fight-or-flight mode onstage, and I wasn’t playing at all how I could play.” Today, it’s a different story. She delivered an assured performance of the Szymanowski concerto with conductor Karina Canellakis in Berlin, finding a meaty yet tender sustained sound.
But for Benedetti, the more significant change has been psychological: feeling grounded enough in her technique to free up and really explore, even in the fastest, most intricately patterned corners of her repertoire, like Wynton Marsalis’ Violin Concerto, written for her in 2015 and reprised by Benedetti on many occasions. “I feel like I’ve become a lot more confident over time as a violinist,” she said.
Teddy Jamieson, senior features writer for The Herald in Scotland, said of Benedetti, “She’s always been very serious about what she does, and really interested in the place music has in society — its role, its worth.” That, coupled with her undimmed energy as a self-starter, resulted in the Benedetti Foundation, a music education project she started in 2019, which provides large-group opportunities for string players of all abilities.
“Too many times in my life I’ve seen, ‘Let’s have the whole nation playing the violin in two years,’ and people saying, ‘Our world will be fixed if that happens,’” Benedetti said of the organization’s constructive role within the wider education ecosystem. Within minutes, she flipped from arch idealist to blunt realist: “I’m in a position which is constantly doing this,” she said, putting her index fingers together, and wiggling them like a seismometer needle.
Benedetti quickly shuts down questions about her personal life, and about the large ring on her finger. Otherwise, there’s a friendly gregariousness to her that belies her solitary violin work.
“There’s a lonely quality to the soloist world, and especially because I didn’t go to college,” she said. “I left school at 15 and between the ages of 15 to 23, where you form some of those really strong bonds, I was basically on my own out there. That made an already quite lonely profession a bit more lonely.”
A summer day in Berlin last year offered an alternative to that; Benedetti found herself shielding from “too much community,” focusing on her concert there rather than on a city full of friends. And the best friend she’s made around the world? “This person,” she said, pointing to the ring.
“And family,” she quickly added. Benedetti used to live in London but is now based in Surrey, England, which she said has strengthened her support system: “I get excited about going home, and I can’t say that I ever really felt that when I lived in London.”
The move places her close to relatives for the first time since she was a child; she’s a 15-minute drive from her sister (and fellow violinist) Stephanie Benedetti, along with her 1-year-old nephew Nico and 3-year-old niece Sienna, who received her first miniature violin for Christmas.
There is a sense that personal connections come first for Nicola Benedetti. “I’ve refound in the last six or seven years,” she said, “such a community developed through the teaching and educating world, different parts of the industry that you wouldn’t necessarily access through being a touring concert soloist.”
This article originally appeared in
The New York Times.
