The many sides of Nigel Redden (and as many strokes of artistry, too) | Columnists

His vision has been grand, and his aims famously high.

Think world premieres of epic operas that spared no artistic detail. Or cheeky avant-garde theater that slyly begged further thought. Or new works of dance that scaled uncharted performative pinnacles.

For the better part of four decades, Nigel Redden has worked tirelessly as Spoleto Festival USA’s master weaver, with each new festival joining distinct, diverse threads of artistic expression in a way that seamlessly unfurls over the course of 17 days.

But for all the behemoth ambition and breakthrough action, the general director’s profile has been far from one of any grandstanding bent. During the heady festival days, Redden certainly lends his voice. But it is heard in a convivial, velvety preshow recording, smoothing over housekeeping cellphone dictates and such with his hallmark British accent. Or it is contained to a reflective observation from a stage apron or intermission lobby.

He would prefer the artists to command the spotlight.