Extract
[...] Thus, in terms of plan, we will in the first part of our analysis appreciate the situation of classical music festivals in Switzerland, that is to say by identifying the festivals, their audience, their budget, and their distinctive characteristics. Then, in a second time, we will make an analysis of the cultural policy in Valais as well as a short presentation of the cultural offer of the canton. Finally, we will end our analysis by proposing a presentation of the place of the Verbier Festival compared to its competitors in Switzerland and in Valais I. [...]
[...] Indeed, festival sponsorship has become indispensable today. Without these private aids, festivals like the Puplinge Classique Festival, in the town of the same name (canton of Geneva), would no longer exist. This difficulty is still present, and particularly for the festival called Septembre Festival, which takes place in different communes around Lake Geneva between Vevey and Montreux. Indeed, according to its director Mischa Damev: 'we receive a lot of help from the commune of Montreux, but it's getting harder and harder to find sponsors. [...]
[...] However, the Lucerne festival is not the only one to be able to 'pull off the trick' in Switzerland. Indeed, it is clear that the classical music offer within the framework of the festival occupies the entire territory. In this sense, we can mention the Mehuhin festival in the mountain station of Gstaad, created by the American-born musician, the violinist Yehudi Menuhin (1916-1999) or the festival Progetto Martha Argerich, in the city of Lugano, in the south of the country. [...]
[...] Indeed, in addition to the Verbier Festival, we must obviously mention the other festivals in order to isolate their own characteristics. In this sense, we could mention the Lucerne Festival, which has been held every summer since 1938 thanks to the initiative of the Italian conductor Arturo Toscanini (1867-1957). According to Rodrigo Carrizo Couto, it is about the « plus grand rendez-vous de musique classique de Suisse3 » (Couto, 2012). Indeed, it goes without saying that being able to welcome its audience in the vast hall of the Culture and Progress Palace created by the famous architect Jean Nouvel in 1998, perfectly illustrates the ambition of this historic festival in the Swiss cultural music scene. [...]
[...] The study therefore focused on five areas: direct festival expenses (accommodation, catering, infrastructure, taxes and . salaries paid by the festival; expenses incurred by the public and staff (accommodation, food, transportation); the impact on real estate (residents attracted by the event, increase in property value, tax revenues); and indirect effects (investments, employment . The report concludes that the multiplier coefficient (or return on investment) is 10: the economic impact would correspond to 10 times the public subsidies granted to the festival The commune of Bagnes, owner of the Combins hall, invested 150,000 francs in a state-of-the-art roof. [...]
