Inside the VFCO: Martin Engstroem & Michael Fuller on Music, Touring, and Mumbai

Since its founding in 2005, the Verbier Festival Chamber Orchestra (VFCO) has earned a distinguished place among the world’s top chamber orchestras. Composed of exceptional alumni from the Verbier Festival Orchestra training programme, its musicians hold positions in renowned ensembles such as the Vienna Philharmonic, the Berlin Philharmonic, and the Royal Concertgebouw Orchestra. Under the artistic leadership of Gábor Takács-Nagy, the VFCO has captivated audiences at prestigious venues and festivals worldwide, performing with some of the greatest artists of our time.

At the heart of this remarkable institution is Martin Engstroem, the visionary Founder and Director of the Verbier Festival. With a storied career that spans artistic consultancy, artist management, and recording production, Engstroem has played a pivotal role in shaping the careers of some of the most celebrated musicians of our era. Complementing his leadership is Michael Fuller, a founding member of the VFCO and Head of International Touring and Projects. Fuller’s experience as both a distinguished double bassist and a seasoned arts administrator positions him uniquely to expand the VFCO’s global reach.

In this exclusive conversation, Martin Engstroem and Michael Fuller discuss the evolution of the VFCO, its role in nurturing musical excellence, and their vision for the future of this extraordinary ensemble.

Nikhil Sardana: This will be the VFCO’s debut performance in Mumbai. What are your expectations for this concert, and how do you see the Indian classical music audience responding to your programme?

Michael Fuller: I am, first of all, very curious, since it is the VFCO’s debut, and Verbier has not been to India in any form since the UBS Verbier Festival Youth Orchestra performed there in 2003. I was a member of that orchestra on that trip, which remains one of the most special memories of my musical life. Honestly, I don’t know what to expect, and I’m excited to engage with this new audience. I hope they will enjoy it!

Martin Engstroem: Music is an international language and works differently for different people—it’s like food. You don’t have to be Indian to love Indian food, and the same applies to classical music. I just hope that audiences in Mumbai will be curious enough to give us a chance. They might like it, and a whole new world will open up for them.

NS: The VFCO is renowned for its energy and cohesion, with musicians coming from some of the world’s top orchestras. What makes this ensemble unique, and how does it differ from other chamber orchestras?

MF: The VFCO is unique in many ways. One of the key factors is our combination of musicians—we are an international group, with players holding positions in leading orchestras worldwide. At the same time, we share a common musical foundation: we all went through the Verbier Festival Orchestra training programme before being selected for the VFCO. This gives us a shared musical culture despite our diverse backgrounds.

Each VFCO concert is a passion project for its members. Through this intense focus, we reconnect with the essence of why we play music, something that can often be lost in the routines of everyday orchestral life.

ME: I like Michael’s response—it really is an emotional project. None of these musicians play in the VFCO for money. They do it because they met at an early stage in their musical journeys and have supported each other through their ups and downs over the last 20 years.

NS: Michael, you were one of the founding members of the VFCO and now play a leadership role. How has the orchestra evolved since its inception, and what are your ambitions for its future?

MF: The VFCO has evolved by continuously renewing itself. A whole new generation of musicians has come through the Verbier Festival Orchestra training programme, with the most talented among them invited to join the VFCO. This constant infusion of fresh energy and enthusiasm keeps us vibrant, while the core group—many of whom have been there since the beginning—ensures maturity and continuity.

I truly believe the sky is the limit for this orchestra. Our ambition is to establish the VFCO’s presence in every major concert market around the world, performing with the finest conductors and soloists—many of whom already join us in Verbier each summer. This spring, we will not only visit India, but also South Korea, France, and the United States. Last year, we toured China, and future plans include Japan, South America, and Europe.

NS: Martin, as the founder of the Verbier Festival, you have built a global network of musicians and audiences. What role do you see the VFCO playing in shaping the next generation of classical music performers and listeners?

ME: In Verbier, we strive to inspire and stimulate young musicians to think beyond their instruments. A musician in 2025 is not just a performer; they are an artist within a community. Communication is more important than ever—you need to give in order to receive.

NS: With the recent release of the complete Beethoven symphonies on Deutsche Grammophon, how does this project reflect the artistic growth of the VFCO? What other recording or touring projects are on the horizon?

ME: We are always pushing our artistic boundaries. We created our own label—VF Gold—in partnership with Deutsche Grammophon, which released the complete Beethoven symphonies. Last November, we also released two Beethoven symphonies conducted by Sir Simon Rattle with the VFCO. There are more upcoming releases featuring our Music Director, Gábor Takács-Nagy.

NS: The Mumbai programme spans from Haydn to Veress, offering a mix of familiar and lesser-known works. How was this repertoire curated?

MF: Programming is always a dialogue. You want to find music that both the artists are passionate about and that highlights their strengths. Nicolas Altstaedt, our conductor and soloist, was particularly keen on performing Haydn and Veress—he conducts the Haydn pieces but leads the Veress from the cello, sitting in the orchestra! The Mehli Mehta Music Foundation, our presenter, requested the Tchaikovsky, as they know the local audience best. The goal is to create a balance—showcasing the best of our artists while offering an appealing and marketable programme.

NS: The VFCO has performed in some of the world’s most prestigious venues. How do you adapt to different cultural contexts, especially in a country like India, with its own rich musical traditions?

MF: Since India does not have an extensive Western classical music touring infrastructure, we focused on Mumbai, with the Verbier Festival Chamber Players performing a string quartet concert in Pune. We also chose an outstanding string player, Nicolas Altstaedt, to lead the Mumbai concert, hoping that Indian audiences will connect with this—given the country’s deep-rooted tradition of string instruments, such as the sitar.

NS: Looking ahead, how do you see the role of touring orchestras evolving in today’s classical music landscape?

MF: The VFCO functions like a startup company on tour—flexible, agile, and solution-driven. With global uncertainty affecting orchestral touring, we must adapt and work with partners who truly believe in what we have to say musically. Touring is a tough business, but by maintaining our artistic voice, we continue to thrive.

The Verbier Festival Chamber Orchestra will perform at the Tata Theatre, NCPA Mumbai, on March 20, 2025, presented by the Mehli Mehta Music Foundation. Conducted by and featuring cellist Nicolas Altstaedt, the programme includes Tchaikovsky’s Variations on a Rococo Theme (original version for strings), Haydn’s Symphony No. 49 “La Passione” and Cello Concerto No. 1 in C major, and Veress’ Four Transylvanian Dances.