Eurovision Song Contest 2026: Executive Producer Krön promises "great show"

In a conversation with APA, Michael Krön explains how ORF intends to realize a "great show" at the Eurovision Song Contest 2026 despite budget cuts. He speaks of an "open race" regarding the choice of host city and assures that the team is prepared and knows "what's coming our way".

Many Hands Work on Eurovision Song Contest 2026

APA: Mr. Krön, as Executive Producer, you are the main organizational person responsible for hosting the ESC 2026 in Austria. Did you vie for this role, or did it just happen?

Michael Krön: Since I am the chief producer responsible for production at ORF, it was actually obvious to place the Song Contest in my hands. And it's not just my hands, but many hands working on it.

APA: It sounds stressful to be both the chief producer at ORF and the ESC Executive Producer.

Krön: Yes, but I am well supported here. The management is very accommodating regarding the personnel support of the ESC core team. We have been able to recruit very good people for the project. If everything works well, I am mainly there to provide strong support for the people who are building this project with me and to offer them the necessary conditions for their work.

APA: Are you actually an ESC fan?

Krön: I wouldn't call myself a hardcore fan; that wouldn't be beneficial for my job. Of course, I have followed it over the past years - sometimes more, sometimes less. For me, it is undoubtedly one of the biggest and most beautiful events that television has to offer.

Krön Wants to Distill the Best Package for Eurovision Song Contest 2026

APA: In the second half of August, it will be decided where the ESC will take place in Austria: in Innsbruck or Vienna. You won't reveal who it will be now, but what will ultimately be decisive for the decision?

Krön: What will be decisive is that we distill the best package from the perspective of the audience, the brand, ORF, and the entire country. Financial strength will be as crucial as ideological strength. It is not only a major event for ORF, but it is also a huge deal for the host city. When the whole world looks at a country, it is extraordinary and a huge opportunity to show what you can do. But that only works together.

APA: You mentioned the financial strength. Do you feel the willingness from Innsbruck and Vienna?

Krön: Absolutely. Both cities have presented a great concept and I feel the willingness - both financially and ideologically. I am very impressed by the seriousness and professionalism of both applications. It is definitely an open race, which will be decided in the second half of August. ORF does not want to and will not make a business out of the ESC. Financially, the host city benefits primarily through indirect profitability, advertising value, and visibility at the end of the day. It is clear that we will handle the fee money sparingly, but it is also clear that we will put on a great show and be excellent hosts.

Eurovision Song Contest is Smaller in Reality, Bigger on Television

APA: In times of financial pressure on ORF, is it possible to stage a similar spectacle as in 2015 in Vienna?

Krön: I think so. It is a television show: smaller in reality, bigger on television. If well staged, you can certainly create a bigger spectacle for viewers on the TV screen without spending even more money. It's about creatively considering what story you tell, what message you convey, and how you place the artists at the center of the staging. We can do that. We will definitely make it spectacular.

APA: What happens next after the host city is determined?

Krön: We are currently working on our vision. We are thinking about what our common thread is, what our strengths are, and how we want to present Austria. We base the entire event and the design for the shows on that. It should be the heart from which everything pumps away. Of course, it is also considered that we will celebrate 70 years of the Song Contest next year. Once the city is determined, we will proceed in more detail. A lot depends on whether you are telling a story from an Alpine city at the crossroads of north-south-east-west or from a metropolis, a melting pot, in the middle of Europe. These are different stories.

APA: Have you already sought advice from your predecessor as Executive Producer of the ESC 2015 in Vienna, Edgar Böhm?

Krön: No, I haven't had any contact with Edgar regarding the Song Contest yet, but I have with the Swiss colleagues who hosted it this year. They are very helpful and cooperative. That's really great. I also have support from the EBU, and in the core team, we have a few veterans in the house. They did it ten years ago and know what to expect.

Cooperations for Eurovision Song Contest 2026 Not Excluded

APA: Nina Kaiser, a ProSiebenSat.1Puls4 manager, was brought into the ORF-ESC core team. A signal to the private sector?

Krön: It speaks to the excellence of Nina Kaiser. We have known her for a long time and organized the 4Gamechangers Festival with her. She complements us very well. Under ORF Director General Roland Weißmann, cooperation with competitors is already being maintained, and our hands remain extended. I do not rule out the possibility of taking a step together with Austrian private companies in terms of content.

APA: What about the Austrian act for 2026? How will this be approached?

Krön: That is clearly separated - the ORF entertainment department is responsible for the Austrian act and its selection. As the ESC 2026 project team, we actually have nothing to do with that.

Eurovision Song Contest 2026: Less Burden, More Joy

APA: To what extent will last year's winner JJ, who brought this task to ORF, be involved? He said there are plans for him to sing...

Krön: These are detailed questions that we can only clarify once we have developed the show concept. But from my perspective, it would be great if JJ, just like Conchita, is part of the show. However, I can't promise anything at this point. But because you mentioned JJ brought this upon us: I never saw it that way. When you participate in a competition and win, it's a reason to celebrate. I see it as a huge opportunity and less of a burden for ORF. If we win again next year, then we will also host a great Song Contest in 2027.

APA: Recently, there was a major disruption at the opening of the Salzburg Festival. One must also expect disruptions at the ESC. How is ORF preparing for this?

Krön: Unfortunately, security plays a much more important role than it did ten years ago. It requires more resources and a lot of professionalism. We are already, even though we don't yet know where the ESC will take place, in intensive discussions with the relevant authorities and security experts. We must protect all the people who come to our event equally. They should be able to have a great and carefree time here.

APA: In conclusion: How many points do you expect for Austria? 0 like the MakeMakes once received in Vienna after Conchita Wurst's victory, or as many as JJ scored?

Krön: I haven't thought about that yet. I wish for many points and a great act.

(The conversation was conducted by Lukas Wodicka/APA)

This article has been automatically translated, read the original article here.