Bayreuth Stipendium

“My week-long experience in Bayreuth was very eye and ear-opening. One of the highlights was sitting inside the orchestra pit. As a conductor, one is always experimenting with acoustics whichever hall one is in. What is special about Bayreuth’s acoustics is that the sound goes through different reflections through the walls from underneath and ultimately into the auditorium. Of course, listening to this one-of-a-kind surround sound in the different operas (and also audibly noticing how Wagner’s orchestration is different in each of the works) is a highly precious experience for me: this alone redefined my idea of sound production. Also, I have become more attentive and constantly curious about the staging aspects in each of the works. Admittedly, as a conductor, I am biased with musical and textual aspects, but during my time in Bayreuth, I also learned to appreciate productions, especially those that are daring in approach. Wagner was always pushing for something new and cutting-edge during his lifetime. It is refreshing to see newer approaches to staging in Bayreuth. It not only affects the plot, but also the wholistic listening experience to a different level.

Bayreuth also changed my perception of what is an intermission. In a “normal” concert experience, an intermission is where one might get refreshments and takes a break from the music that one has heard during the first half. However, the long intermissions during the festival mean that there is time to mingle and delve into deep discussion with different kinds of audience members, from pure enthusiasts to renowned scholars. It was like a symposium, community gathering, or a one-of-kind forum. I was not only looking forward to watching each act of the operas, but also excited for each intermission, whether there would be new corners of the Festpielhaus that I discover, new audience members that I meet, or in one case, greeted by a musical surprise! I cannot forget the wonderful spectacle during the first intermission of Tannhäuser: unique to the production that I saw, there was a separate musical act in itself! Thank you to The Wagner Society of New York and the Richard Wagner Scholarship Foundation for making this unforgettable experience happen for me.”

Learn more about Irfan’s work at tengkuirfan.com

“Attending the Wagner Opera Festival in Bayreuth has been a remarkable experience that has undoubtedly contributed to my professional growth as a scenic designer. One significant aspect of this growth is the exposure to world-class design and international perspectives. Observing and analyzing the work of accomplished scenic designers at this prestigious festival has provided me with a wealth of knowledge about the latest trends, techniques, and innovations in the field. Additionally, the opportunity to interact with and learn from designers, directors, and theater professionals from around the globe has expanded my understanding of the cultural nuances and artistic approaches that influence stage design internationally.

Furthermore, this experience has enhanced my professional development through invaluable networking opportunities, workshops, and events where I was able to discuss the artform from different areas. I have made meaningful connections with peers and potential collaborators, which can open doors to exciting projects: I have sat in on three concerts by other scholarship holders via Zoom since leaving! Attending the Wagner Opera Festival also adds prestige to my professional background, demonstrating my commitment to the industry and showcasing my dedication to continuous learning and growth. The skills, knowledge, and experiences gained in Bayreuth will undoubtedly contribute to my success as a scenic designer and allow me to bring fresh, innovative ideas to future creative endeavors.”

Learn more about Jacob’s work at jacobbrowndesign.com

“I have had the distinct pleasure of returning to Bayreuth thanks to the support of the Wagner Society of New York and the Richard Wagner Scholarship Foundation. Coming back as a stipendiat allowed me to experience the festival and city from a whole new perspective. Within the program, I have been able to expand and grow my European professional network. I found myself in awe throughout the week as I was surrounded by such talented peers. As an arts administrator, I kept on asking myself- “I wonder when I will get to work with these singers again? Where will we all be in 20 years?”

While expanding my professional connections has been one of the many benefits of this program, it was not all 100% business. I had such a pleasure getting to know these contemporaries of mine. I found it so exciting to be in conversation with them, speaking eloquently about Wagner and then transitioning into normal twenty-something chatting. The connections I made by my participation in the stipendium program have been such a gift.

Alongside the deep connections I made with people, my actual time spent in the Festspielhaus has left me with a deeper connection to Wagner and his music. I am so lucky that my first time ever hearing Parsifal and Tristan live was within the Festspielhaus— the experience I had being completely absorbed in these Wagnerian worlds is one I will never forget.

My experience in Bayreuth has left me with so much gratitude. To the New York Society for their endless support, to the International Verband for the exciting programming, and to Wagner himself as I got to truly experience his vision of the festival ideal.”

“Bayreuth changed my life. Prior to 2022, I had some knowledge of Wagner and the Festival, and was aware of Wagner’s influence on tonality and harmonic structure. However, his gargantuan reputation was intimidating and, because of that, I was not enthusiastic about learning his music. It was not until 2022, when I was an Apprentice Artist in the chorus of Tristan und Isolde with Sante Fe Opera, that I had an opportunity to be immersed in the music – and only then because I had a vested interest. Then in 2023, I was the recipient of WSNY’s Bayreuth Stipendium, an annual scholarship program that gives participants the opportunity to experience three operas, attend lectures on his music, and connect with other young singers, as well as instrumentalists, directors, coaches, conductors, costume designers, and scholars. The performances I attended were dynamic, varied, and superb musically. The Festspielhaus is rife with pageantry and symbolism. Each evening’s performance may begin on the lawn with refreshments, conversations, and, for me, much-needed German practice. … The Bayreuth Festival reinvigorated my love for opera. Seeing three varied and contrasting shows made for diverse musical and dramatic experiences, all of which ranked 11 out of 10. … The overture of Dutchman burned through the house like wildfire. … The performances ignited a new sense of responsibility and dedication to my own musicianship. This musical awakening is only attainable at the Bayreuth Festival, due to its specific history; it stands alone in its musicianship, inventiveness, and faithfulness to Wagner’s legacy. My experience as a Stipendium recipient was rich with learning, culturally enriching experiences, and fabulous performances. I am a better artist as a result.”

Learn more about Joseph’s work at joseph-parrish.com