Touring in two directions

“Askonas Holt’s first working visit to mainland China took place in the winter of 2002,” Senior Project Manager Jonathan Fleming recalls. He made the journey to Shanghai and Beijing with Martin Campbell-White, then Joint Chief Executive, and Vicky Lau, Project Administrator, where they visited a number of venues that were stirring international interest. Some of these were already well established, in particular the Shanghai Grand Theatre, but others looked very different to the gleaming edifices that we know today. “It’s curious looking back on that trip, and the fact that we toured Shanghai Oriental Arts Center and Beijing’s National Centre for Performing Arts when they were almost unrecognisable: essentially just big holes in the ground. And yet some hugely important relationships began on that trip and flourish to this day”, Jonathan says. “To have been there at that time was a stroke of genius or luck, or both.”

Although Askonas Holt had already acquired extensive experience working in both Japan and Hong Kong – indeed one of the key figures in its history, Sir Ian Hunter, founded the Hong Kong Arts Festival in the early 1970s – mainland China was uncharted territory. Three short years later, in 2005, Askonas Holt would bring the Berliner Philharmoniker to Beijing and Shanghai, marking the company’s first full tour of the country. Did the orchestra need much persuasion? “The Berliner Philharmoniker have always been an intrepid orchestra. I think a lot of players were curious about going to China: breaking new ground and meeting new audiences.” And many ensembles have since followed a similar path: of the 250 performances in 33 different countries the Tours team facilitated in 2017, more than 10% were in mainland China.

Yet bringing top-class international orchestras and dance companies to China was never the exclusive aim for Askonas Holt: “One of the things that we wanted to achieve was to establish from the outset a twoway interaction with China, taking our most prestigious projects to these fantastic new venues, but also committing to bringing high-quality ensembles in the other direction.” And thus 2005 also saw Askonas Holt bring the National Beijing Opera Company of China to the UK. “It was the first time a full-scale Peking opera tour had happened in this country,” says Jonathan, “not only visiting London but also Manchester and Edinburgh. We were bringing something artistically very important from Asia to Europe, and that is something we are determined to continue into the future.” Most recently, Askonas Holt has organised international tours for the China National Centre for Performing Arts Orchestra, the China Philharmonic Orchestra, the Guangzhou Symphony Orchestra, the National Youth Orchestra of China, and the Xiaoshuijing Farmers’ Chorus.

Sergio Porto Bargiela, Head of Tours & Projects at Askonas Holt, explained the importance of this relationship with China and the growth the country has seen over the past decade or so: “As part of the ethos of the company we are always looking at exciting territories that are developing, and China has become one of the major countries in the world. That growth economically, socially, politically, has come handin-hand with development in other areas and one of those has been culture. There has been an increase in curiosity from them about our music, our culture and equally from Europe and the rest of the world about their own culture, so from our point of view we are very lucky and in an excellent position to bridge and facilitate those interests.”

It’s now 15 years since Askonas Holt’s first visit to the country, and a lot can change in such a period. “Since that time our work in China has grown almost exponentially,” Jonathan says. “And the thing now manifesting itself clearly is the opening of world-class performance facilities in many of China’s second and third tier cities. We find that our clients are very open and willing to perform for audiences in those cities, as well as returning to the major centres. There is definitely a receptiveness to the notion of going to unfamiliar places.” Sergio agrees, adding, “I think even ten years ago it was still a relatively unknown idea for international companies or big orchestras to go to China. It is not anymore.”

The audience, too, has changed. “In China, audiences cover every age group, and it’s exhilarating for artists to encounter so many young people who are passionate about experiencing the performing arts,” Jonathan says. “As we know, there is a huge upsurge in music education in the country, and outreach events on tour – such as workshops and post-show Q&As – also illustrate this tremendous appetite.”

Sergio echoes Jonathan’s thoughts, saying, “I think it is the way they listen, their interest, their curiosity, the openness about programmes, about repertoire, about different styles. They are a very intelligent audience and they know what they want more and more.“

There is of course some variation in working practices between East and West. Does Sergio note any in particular? “I think the main difference is that these institutions often have different structures and processes to those we are used to in the West, and one needs to understand and respect that fact. You also need to make your touring partners aware of the differences, so they understand what it is that they should expect when considering the possibility of going to China.” Finding common ground, and a way to work harmoniously together, is an ethos rooted deep within Askonas Holt.

Jonathan’s concluding thoughts return to the impetus for that first visit in 2002. “We were never simply there to sell tours. We were there to establish working relationships and demonstrate our interest and sincerity about working with China. Everything we have done since then has had same intention. What we enjoy is building really strong partnerships, where we listen as much as we talk.”

Lauren O’Brien is Reception & Marketing Assistant at Askonas Holt, having recently graduated with a BA in Music from the University of Birmingham