Founded in 1970 at the instigation of Princess Grace of Monaco, the festival Le Printemps Des Arts has been chaired, since May 2021, by the composer and conductor Bruno Mantovani.
Le Printemps des Arts is a festival dedicated to classical and contemporary music. It is based on a solid principle: establishing a dialogue between music and major artistic, philosophical and historical issues. The festival deliberately deviates from conventional paths by offering a different theme each year, which shapes its entire program. Its originality is reflected in the variety of its formats, ranging from recitals to dance ballets, without forgetting more avant-garde concerts. The performances take place in several symbolic venues in Monaco and its surroundings. Among these well-known and popular places in the Principality are the Rainier III Auditorium, the Oceanographic Museum on the Rock of Monaco, or the mythical space of the car collection of H.S.H. the Prince of Monaco. These locations will offer spectators a cultural and immersive experience.
This year, Le Printemps des Arts revolves around the theme of utopia, an invitation to explore music from a new angle, crossing eras, styles, and art forms. Intended for curious music lovers open to discovery, the festival will be held from March 11 to April 19, 2026. Bruno Mantovani explains: “From the moment I arrived at the directorship of the festival, the goal was to theme it, give it a scientific character and a clear structure for the public. And then, the clearer it is, the more we can lose people since it’s within the framework that we feel the most free.”
An Invitation to Listen Differently
Bruno Mantovani states that he could choose more well-known personalities for his Monégasque festival, but that is not his goal. Le Printemps des Arts does not seek to resemble other festivals: it boldly claims an authentic identity. “Firstly, it is a festival where the hero is not the performer but the work”, he adds, emphasizing the fundamental importance of this principle. He distinguishes two programming approaches: “There are two ways of programming. Le Printemps des Arts chooses to present performances as premieres or firsts: we first define the works, then we choose the performers.” A deliberate approach, far from the logic of fame. “I am not interested in scheduling the ten or fifteen musicians that everyone knows; it is even the opposite that we want to do”, specifies Bruno Mantovani. Finally, the director points to a concerning trend in the classical music world: “The classical music world has taken the wrong aspects from popular music: social networks, television, with the mess that are the music awards, the pricing…”
In its objective of audience outreach and renewal, Le Printemps des Arts also emphasizes an advantageous pricing policy for those under 25, offering free or significantly reduced access depending on the concerts, in order to remove financial barriers and encourage exploration. This approach is entirely aligned with Bruno Mantovani’s perspective, who also sees programming as a means of education. “I believe that when one acquires knowledge, and programming serves to explore and learn, a lasting imprint always remains […] Curiosity is the key factor to this lasting impression.” The festival, by placing the work at the heart of its concerns and welcoming new generations, clearly manifests its goal: to cultivate spectators eager for discovery and leave a lasting impact, well beyond the duration of the event.
