Artist Managers: Responding to conflict in Ukraine

‘I stand firmly for an independent Ukraine and against the Putin and Russian government policies of suppression, aggression, invasion and war…Maestro Gergiev’s unwillingness to speak against those policies has made it impossible for the international music community to accept him on the concert or opera stage. I have cancelled his touring plans and appearances in North America.’       

The words of Doug Sheldon, Valery Gergiev’s manager for North America across three decades, on removing the legendary conductor from his roster. A dimension of ‘unthinkable’ to go with so many others since the invasion of Ukraine began. I’ve been writing this column across 37 years and never has a story such as Sheldon’s been imaginable. His move mirrors that of Gergiev’s European manager — Munich-based Marcus Felsner, who was similarly direct. ‘In the light of the criminal war waged by the Russian regime against the democratic and independent nation of Ukraine…it has become impossible for us, and clearly unwelcome, to defend the interests of Maestro Gergiev…who will not, or cannot, publicly end his long-expressed support for a regime that has come to commit such crimes.’

It’s been a sobering exercise to read through the range of website statements on Ukraine posted by UK artist managers. All in their different ways express horror at Russia’s actions and support for Ukraine’s resistance. Equally, though, there has been sensitivity towards Russian musicians who — as the IMG Artists company statement puts it — ‘…though wholly innocent of the aggressions perpetrated by their government, face ostracisation, cancellations, the loss of their homes, and are fearful for their loved ones, simply because of where they were born.’ Sentiments endorsed by the International Artist Managers’ Association, whose words expressed a belief ‘…in the transcendent ability of music to build bridges and heal divisions. We reject a blanket discrimination against Russian repertoire and against artists based solely on their name or origin.’

As with IMG Artists, the AskonasHolt office in London represents both Russian and Ukrainian artists — in the latter case a significant group, including Bournemouth Symphony Orchestra chief conductor Kirill Karabits and violinist Valeriy Sokolov. AH chief executive Donagh Collins sought the advice of Karabits on what kinds of support would be most welcome to performers from his native country. 'Many of them of course have family in Ukraine,' says Collins, 'which inevitably is a cause of great anxiety. I've written a personal letter to each Ukrainian musician on our roster, assuring them that we will do all we can to help them in these difficult times, from finding work and help with visas to answering requests for financial assistance.

‘We’re actively working on an idea for a professional Ukrainian refugee orchestra based in Poland, which could tour internationally. Most of the players would be women, of course, given that men have largely remained behind in Ukraine. Promoters I’m sure would support this initiative…and it would represent something really tangible to benefit these musicians, both bringing in useful money and allowing them to express their feelings about this situation in a powerful way.’

Equally, Collins is adamant that individual Russian musicians who clearly repudiate the actions of Vladimir Putin should not be made to suffer by way of engagements being withdrawn, or other sanctions. ‘It’s one thing cancelling sporting teams in a generalised way where they represent the Russian Federation, but it’s something very different when we'’re talking about individual performers. I’ve heard musicians talk of how difficult it is to identify themselves as Russians in these times.'

Other London managements represent Ukrainian artists, of course. At the Sulivan Sweetland office, Emma Sweetland offers the case study of Luxembourg-based pianist Vadym Kholodenko.’ We’d been discussing the implications of war breaking out before the actual invasion,’ Sweetland recalls. ‘When hostilities began Vadym was keen to continue performing. This offered some comfort and a welcome distraction from the atrocities occurring in his native country.  We’ve talked about ways he might be able to offer support and are currently working on a benefit concert with the SWR Sinfonieorchester where he’s artist-in-residence. Promoters have been incredibly supportive — for example, asking if he’s comfortable for the orchestra he’s conducting to perform the Ukrainian National Anthem.’

The Intermusica office has reached out to Ukrainian orchestras and, as one measure, has sponsored Ukrainian orchestral director Tatiana Kalinichenko’s attendance at the International Artist Managers’ Association’s Vienna conference in early April. ‘She’ll have the opportunity to speak with promoters from across Europe,’ says Nicholas Boyd-Vaughan of Intermusica, ‘and will share the experiences of members of her orchestra who are still in the middle of the war-zone.

‘We’ve been working with our artists to support a variety of fundraising initiatives, with benefit concerts taking place across Europe and the US. These have included Intermusica artist Lahav Shani conducting players from the Munich Philharmonic Orchestra, the Bavarian Radio Symphony Orchestra and the Bavarian State Orchestra, with Anne-Sophie Mutter. This was in aid of Save the Children’s Ukraine appeal.’

With a good few UK artist managements now employing staff with highly diverse national backgrounds, it would be a surprise if the current crisis did not stir particularly personal feelings in some quarters. The HarrisonParrott statement on Ukraine expresses its sensitivity ‘to the extreme difficulties faced by all people working in the cultural sector including Ukrainian and Russian artists’, but also refers to HP’s own staff ‘who are affected by this crisis’. As for public initiatives, these have included the prominent part played by Eva Pires, associate manager artists & projects at HP’s sister company Polyarts, in the organisation of an orchestral flashmob performance in Trafalgar Square on 6 March. Ukrainian music heard, funds raised to benefit refugees and plenty of media coverage.

The event, featuring the Playing for Peace Orchestra, was ‘…a plea for peace through the universal language of music,’ Pires tells me. ‘Some of the people we connected with are actively helping Ukrainian refugees in the UK. We have plans to continue fundraising with other events, trying to help…however little we can offer next to the scale of the crisis.’