After a decade at the helm of one of the world’s most celebrated classical music festivals, David Pickard, the artistic director of the BBC Proms, is marking his final year with a milestone: the BBC Proms’ debut in Korea, a country he first visited in 1986 with the Royal Opera Company.

Introducing the Proms to Korea is part of the festival’s mission to reach audiences far beyond its London roots, according to the director.

"The Proms still lives by the motto of its founder, Henry Wood. Back in 1895 he said he wanted to ‘bring the best of classical music to the widest possible audience’ and there will be a mix of ticket prices to enable as many people as possible to share the festival," he said.

The Proms has previously found its way to Japan, Melbourne in Australia, Dubai of the United Arab Emirates and beyond. This year, of the 73 BBC Proms performances in the UK, 17 were held in cities outside London, including Bristol, Nottingham and Gateshead in England, as part of weekend festivals.

While the festival strives to reach the widest possible audience, Pickard also emphasized that its programming should reflect the diversity of the society we live in.

During his tenure, Pickard introduced the Chineke! Orchestra, Europe’s first professional orchestra with a majority of Black, Asian and ethnically diverse musicians, to the Proms and increased the representation of female conductors and composers.

“It’s sad that we have so few female composers of orchestral music from the past and we need to redress that balance for the future. And if you live in a multicultural city like London, I want people to come to a Prom and see that reflected on the stage," he said. "Unless we all make the effort to diversify our audiences and performers – and sometimes that can be done through setting targets – things will never change.”

Stressing that the Proms has always been an international festival that presents the very best artists and orchestras from all around the world, Pickard said that the Proms should be a place for a new generation of Asian musicians.

“At the moment, we are blessed with some truly outstanding Korean artists and there should be a place for them at the Proms as well as the exciting new generation of Asian musicians that is emerging,” he said.

Korean musicians such as violinist Clara-Jumi Kang and pianists Cho Seong-jin and Lim Yunchan took the stage at the Proms this summer.

To reach a broader audience, the BBC Proms goes beyond classical music, embracing jazz, musicals and other genres.

"We’re at an exciting time for music when the traditional boundaries between genres are dissolving," Pickard remarked. "This genre diversity invites people from different musical backgrounds to experience an orchestra live, creating opportunities to connect with a wider range of listeners."

He sees this as a chance to break down long-standing barriers and make classical music more inclusive.

The idea of bringing the BBC Proms to Korea was first conceived in 2019, when Pickard and his team launched Proms Japan.

The lineup for BBC Proms Korea, which involved a close partnership between the BBC and Lotte Concert Hall team, was designed to showcase the best of both international and Korean talent.

Taking place from Dec. 2 to 8, BBC Proms Korea will offer eight programs, featuring cellist Han Jae-min, Lotte’s artist in residence this year, baritone Kim Tae-han and world-renowned violinist Hilary Hahn.

In addition, the inaugural concert on Dec. 2 will feature the Asian premiere of Shin Dong-hoon’s Cello Concerto alongside Chin Un-suk’s “Subito Con Forza" ("Suddenly With Power"), creating a fascinating link between teacher and pupil. Pickard explained that this program aligns with the Proms’ commitment to showcasing contemporary music – a tradition established by the founder, who introduced works by composers like Mahler and Strauss to early 20th-century Proms audiences.

Looking ahead, Pickard, the former director of the Glyndebourne Festival and the Orchestra of the Age of Enlightenment, said he hopes that BBC Proms Korea will become an annual cultural fixture in Korea, offering a “snapshot of our eight-week festival in the UK,” but condensed into an experience uniquely tailored for Seoul.