Paul Kildea to leave Wigmore Hall to concentrate on his conducting career


Wednesday, May 25, 2005

 

 


Having successfully completed the transition since William Lyneís retirement, Paul Kildea has decided to concentrate on his freelance career as a conductor. Over the past two years Paul has combined his musical career with his artistic role at Wigmore Hall, devoting nine months of the year to planning and attending the Hallís concerts and the remainder to his own performing. Sir John Tusa, Chairman of the Board of Trustees, commented ìWhile continuing to maintain its great artistic tradition, Paul Kildea has given the Hall a fresh approach to programming, building and creating an imaginative series including new and established artists since the refurbishment last October. The Board of Trustees wishes him every possible success for his future career.î
Prior to Paul Kildeaís appointment, the position of Director of Wigmore Hall was split into separate artistic and executive functions, when John Gilhooly was appointed Executive Director in Autumn 2000. As Executive Director John Gilhooly leads on business and strategic planning as well as the management of all staff and departmental heads in the operational, marketing, fundraising, financial, educational and administrative areas. He has also driven the recent £3 million capital project and the new CD label. The board is grateful that John Gilhooly has agreed to take on the artistic responsibilities at Wigmore Hall, on an interim basis until Spring 2006, in addition to his role as Executive Director. In the meantime, the Trustees will consider the best way ahead for Wigmore Hall.
Paul Kildea:
ìAlthough hectic and a real balancing act, the last two years have been a wonderful time for meî, Paul Kildea said. ìIíve programmed in the best traditions of this great hall, but Iíve also nurtured many new artists and composers, and have had the privilege of working with a remarkable team and Board, all of which makes me very proud of the role Wigmore Hall fulfils in our culture today. But this period has also coincided with an intensifying of my own performing career, and with operas at Aldeburgh, the Hamburg Staatsoper and Perth in the immediate future, with concert work in Paris, London and Australia, and with a new book commission, I have reached the point where it is impossible to sustain both lives. I know there is never an ideal time to leave such a job, but with my 2005/6 season having just been released and with great planks of 2006/7 and 2007/8 in place, I think that now is as good a time as any.î




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