My previous Classical:NEXT review for Limelight opened with an introduction to Hanover (the previous location of this conference), which I compared to my hometown, Adelaide.

In 2024, classical music’s biggest conference has finally returned, this time to my adopted hometown, Berlin. By way of comparison, this is the equivalent of shifting from Adelaide to Sodom & Gomorrah, so buckle up kids, it’s going to be a wild ride.

Classical:NEXT 2024. Photo © @twinematics

In the past two years, Classical:NEXT has undergone considerable change. Founded over a decade ago under the banner of Piranha Arts, it was forced to pause for a year, while exploring the potential of continuing under pressure from a lack of funding and reliable interest across the industry.

It emerged a year later as an independent entity, with its own dedicated board and workforce, yet still led by the indomitable Fabienne Krause. 

Classical:NEXT occupies an odd space as a conference and industry meeting place: ostensibly focused on innovation and change-making (mission statement: ‘Shaping the future of art music’), its aim is impossibly broad. Far from focusing on...