"Maestro magician Paul Goodwin."
Melbourne Herald, Australia
Paul Goodwin has had a number of positions as Artistic Director or acting Artistic Director of orchestras, ensembles and also in education, culminating in 11 years as Artistic Director and Principal Conductor of the Carmel Bach Festival.
He has held artistic direction positions with the the Academy of Ancient Music, the English Chamber Orchestra, the Basel Chamber Orchestra, the South West German Radio Orchestra, the Carmel Bach Festival, Dartington International Festival baroque opera and the Royal College of Music baroque orchestra,
In his role with the Carmel Bach Festival he has been responsible for the artistic elements of it’s multi million dollar yearly operating budget, major fund raising, donor and audience cultivation, programming all major concerts, creating festival themes and overseeing the programming of all the nearly 50 concerts. Liaising with the concert venues, guest artists, technical staff, management, board, orchestra and artistic committees.
Carmel Success as Artistic Director
94% ticket sale average over the whole festival in the last years.
Significant private donations made because of artistic excellence, dynamic programming and overall vibrancy of the festival.
Overseeing the improvement of the main concert hall acoustics, the addition of an improved sound cloud and the renovation and implementation of it’s innovative LARES sound system.
Significantly lowering audience age.
Accelerating audience diversification and ethnicity.
Introducing children’s concerts and reviving the Youth Chorale.
Introducing cross over concerts of jazz, folk and bluegrass music.
Significantly widening the festival repertoire to all periods and genres. From medieval music to romantic and 20th century classics and contemporary music.
Introducing film music and opera performances.
Introducing star guest artists and eminent pre concert speakers.
Introducing a more relaxed and flexible approach to presenting concerts.
Encouraging a higher level of integration between players and audience, especially with the use of player “hot spots” after concerts.
Introducing baroque instruments and period performance practices in all music.