OCL: negligence at the heart of the financial crisis

A dirty slate and a series of articles against the artistic director. This is a combination of concerns that the OCL would have done well without. However, everything seemed to be going well in the brave new classical world last year when M^e Edgar Filipino takes over the reins of the orchestra’s founding board, succeeding another Lausanne lawyer, Alexandre Curchod.

The ripple effect generated by the aura of Renaud Capuçon as artistic director continues to increase the rating of the OCL, with increasing concert attendance, an unrivaled number of subscribers, prestigious urbi et orbi invitations. In general opinion, the dynamic between the conductor violinist and the musicians is good, even excellent.

It was therefore a bolt from the blue in a blue sky that broke out publicly in August with the almost simultaneous publication of an article by “Blick» and a press release from the OCL foundation board announcing an overdraft well in excess of one million francs over two seasons (“24 hours” of August 21), followed, disturbingly coincidentally, by a series of investigations against Renaud Capuçon in “Le Temps” and Heidi.news.

The fault is attributed to administrative “weaknesses”. The executive director also resigned this spring (officially for personal reasons), and he is replaced since mid-July by Dominique Meyerdirector of La Scala in Milan until February 2025, who has already presented a financial rescue plan considered very reassuring. But the details of which have not yet been communicated.

Reserves cover deficit

How is it possible that mistakes end up digging such a deep hole? Looking back on the events of recent months, M^e Edgar Filipino first insists on saying that there was no warning sign to detect this situation: “The surprise was significant when the accounts for the 2022-23 season were closed. We noted an operating deficit, which was fully covered by reserves. But as these errors have long-term repercussions, deficits also concern the 2023-24 season, which has not yet been completed, and we have done everything to contain them. We will request the support fund from the City of Lausanne for this exercise. And we are aiming to balance the accounts for the 2024-25 season.

The reasons for such a deficit are enough to embarrass the foundation board. The orchestra’s administration even experienced a critical vacancy of several weeks when the pot aux roses was discovered, assumed by the foundation board and its president. We know a little more about the causes, and there are many: additional musician costs, excessive communications expenses, postponement of projects, planning, logistics, etc.

In total, “an accumulation of extra-budgetary administrative costs”. Decoding: “There was clearly insufficient attention paid by management to accounting monitoring and to anticipating excess administrative expenses,” develops Edgar Filipino. But nothing dishonest. Our priority was to put in place a better internal control system. And to identify the most effective saving measures.”

Orchestra musicians having told us of an “extremely bad” administration, which would also have had consequences on their working conditions, we gradually understand that the entire management was in question. “These problems were also brought to my attention,” assures the president, “and the new management will pay particular attention to these scheduling issues, for the well-being of the musicians. This is why we are delighted to have been able to quickly appoint Dominique Meyer as our new executive director, whose trademark is to align the artistic and the budget.”

Renaud Capuçon exonerated

The accusations put forward by “Blick” in August of an orchestra spending without counting on the impulse of its artistic director were vigorously refuted by Edgar Filipino and Renaud Capuçon. Officially, for the OCL, they are unfounded and in no way change the situation regarding the relationship between them. The episode would even have, according to the president, strengthened the orchestra’s esteem towards him: “As artistic director, Renaud Capuçon does not take a position on budgetary issues. There’s not a shadow of a problem with him. On the contrary, he has been decisive in recent months in helping us find solutions, putting all his availability and ideas at the service of the orchestra. I can attest to his attachment and dedication. His involvement in this mission is remarkable.”

Same story with the City of Lausanne and its head of the Culture Department, Michael Kinzer: “We cannot blame the person who must carry the artistic image for bringing ideas and desires. That’s his role. But we have to tell him yes or no. He is not the only master on board. The OCL has undoubtedly lived beyond its means, but we cannot blame it on its artistic director.”

Matthew Chenal has been a journalist in the cultural section since 1996. He particularly chronicles the abundant news of classical music in the canton of Vaud and French-speaking Switzerland.More info

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