Bayreuth Stipendium

“Early in my training, I was told that I am a dramatic soprano and would one day sing Wagner. At the time, I knew very little about opera, but I quickly immersed myself in Wagner’s Ring Cycle and felt an immediate connection to the music and to the extraordinary heroines at the heart of his stories. From that moment on, I dreamed of one day singing this repertoire and experiencing the Bayreuth Festival. Thanks to the generosity of the New York Wagner Society, my dream has now become a reality!

Being in Bayreuth was absolutely thrilling: to have the rare opportunity to tour the Festspielhaus, Haus Wahnfried, and the city’s many museums, and to deepen my understanding of Wagner’s writing and legacy. Of course, best of all were the unforgettable performances in the Festspielhaus itself, which have already had a profoundly positive impact. Just as meaningful was being surrounded by 220 Stipendium holders from around the world who share this same love for this music, and the incredibly kind and knowledgeable Wagner Society of New York members. I felt welcomed, inspired, and connected to a community it seemed I had been waiting to find for years.

Attending Bayreuth has given me invaluable perspective as I begin performing this repertoire myself. Experiencing the acoustic of the Festspielhaus was extraordinary—the clarity of each voice, the vivid colors of the orchestra, and the perfect balance between them was beyond anything I had imagined. Watching world-class artists create bold vocal colors, embrace the full dramatic range of their characters, savor every word, and perform fearlessly was a masterclass in itself. This experience could not have come at a more exciting moment in my own artistic journey. In June, I sang my first Brünnhilde in Die Walküre with Edmonton Opera, and in 2026 I will continue their Ring Cycle as Brünnhilde in Siegfried. Seeing Catherine Foster in this same role was especially meaningful, as I now begin preparing that role for next season.

I am leaving Bayreuth inspired, invigorated, and ready to dive even deeper into the music that has long been my passion. This week was an unforgettable, once-in-a-lifetime experience that will continue to shape my artistry for years to come. I am endlessly grateful to the Wagner Society of New York for making it possible.”

Learn more about Jaclyn’s work at jaclyngrossman.com

“For a long time I had wanted to attend the Bayreuth Festival, and so I am extremely grateful to the Wagner Society of New York for having selected me to attend this past summer. I did not expect the opportunity would come at such an early stage in my artistic development, and the experience I had is something I will carry forward with me for the rest of my career.

The Stipendium program places you alongside over 200 other young artists from around the world, and it is quite special to be able to share the festival experience with colleagues who are also attending for the first time. Included in the program is an amazing offering of museums, meals, tours (including backstage), and most importantly, tickets to three operas. The Festival atmosphere is one of reverence and dedication; everybody knows what they are there to do and enjoy, and the enjoyment extends well outside the opera house throughout the entire town of Bayreuth. This is especially clear during intermissions, where the audience has an entire hour to eat, drink, and socialize between acts. From regulars to first-timers, I don’t know anywhere else you can find an audience so dedicated to what they are seeing.

The Festspielhaus acoustic is the perfect setting for Wagner’s music, and it is no wonder that people return year after year just to hear the music performed in the space. The various forces of the orchestra almost cannot be localized; the sound fills the space all around you, yet comes from nowhere. The orchestra does not hold back, and the naturally clear balance seems almost impossible to disturb. For music like Wagner’s, this makes all the difference. My concerns about the lack of air-conditioning and supertitles faded completely as the lights went down for Das Rheingold, and I found myself enjoying each performance as if I was seeing opera for the first time all over again.”

Learn more about Sanford’s work at swschwartz.com.

“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