The Boston Wagner Institute
Founded by Jane Eaglen in 2019, BWI aims to educate younger generations of dramatic and Wagnerian voices.
Programming each year has consisted of summer workshops, masterclasses, and performances of scenes and arias. This program is for those interested in singing this dramatic repertoire and wanting to master their craft with experienced Wagnerian teaching artists.
The institute is open for anyone to apply. We do not discriminate on any basis of voice type, race, gender, sexuality, age, religious belief, physical appearance or ability, or any identification of self-expression.
For updates on programming and audition information, feel free to email us at bwi@bostonwagnersociety.org.
Boston Wagner Society unveils plans to transform its Wagner Institute into a landmark biennial program, establishing America's premier Wagnerian training hub.
BOSTON, MA, UNITED STATES, March 11, 2025 /EINPresswire.com/
We are thrilled to announce our plans to transform our prestigious Boston Wagner Institute (BWI) into a landmark biennial program that will establish New England as America's premier hub for Wagnerian vocal training and artistic development. Set to debut next year, 2026, this ambitious evolution will create unprecedented opportunities for emerging dramatic voices to study, develop, and perform with full orchestra.
Led by the Society's President Jane Eaglen, whose legendary interpretations of Wagner's most demanding roles have graced the world's premier opera houses for over two decades. A Grammy Award winner for her recording of Wagner's "Tannhäuser" under Daniel Barenboim, Eaglen has earned international acclaim for her definitive portrayals of Brünnhilde in "Der Ring des Nibelungen" and the title role in "Tristan und Isolde" at the Metropolitan Opera, Vienna State Opera, and Teatro alla Scala.
Joining Eaglen in shaping this ambitious vision is distinguished conductor Jonathan McPhee, whose arrangement of Wagner's complete Ring Cycle, "The Essential Ring", has received international acclaim. McPhee brings decades of experience developing orchestras and nurturing emerging talent, having served as Music Director of the Boston Ballet Orchestra for 28 years and conducted for prestigious companies worldwide.
"We're creating a revolutionary approach to developing Wagnerian voices," said Eaglen, who currently serves on the voice faculty at New England Conservatory. " This biennial intensive will offer emerging artists something rare and essential: the opportunity to explore and develop their craft with full orchestral forces in a supportive, educational environment. It's a transformative step in how we nurture the next generation of dramatic voices."
While the Institute's traditional summer program will pause in 2025 to facilitate this evolution, the Society maintains our dedication to advancing Wagner's musical legacy through education and artistic development. The enhanced format promises to make New England the destination for aspiring Wagnerian singers and establish a new model for operatic training in North America.
ABOUT JANE EAGLEN
Jane Eaglen has earned worldwide recognition as one of the most formidable dramatic sopranos of her generation. Her extensive repertoire includes commanding performances with the New York Philharmonic under Zubin Mehta, Chicago Symphony under Daniel Barenboim, and Boston Symphony Orchestra under Bernard Haitink. Beyond her Grammy Award-winning recording of "Tannhäuser", her discography includes acclaimed solo albums for Sony Classical featuring works by Wagner, Bellini, Strauss, and Mozart and Bellini’s Norma with Ricardo Muti. A dedicated educator, Eaglen serves on the faculty of New England Conservatory and is the founder and artistic director of the Boston Wagner Institute, as well as serving as the President of the Boston Wagner Society.
ABOUT JONATHAN MCPHEE
Jonathan McPhee's distinguished conducting career spans symphony, ballet, and opera across six continents. Currently Music Director of Lexington Symphony and Conductor Emeritus of Boston Ballet, his innovative programming and artist development initiatives have earned him recognition for both artistic excellence and creative vision. His critically acclaimed work has been heard at venues including Dubai Opera House, Tokyo's Bunka Kaikan, and with major companies including The Royal Ballet, Martha Graham Dance Company, and The Australian Ballet. McPhee studied at The Juilliard School as a Naumburg Scholar and at the Royal Academy of Music.
Boston Wagner Institute with Artistic Director, Jane Eaglen, is an education-forward program for singers with the potential to sing Wagner. With a career spanning the roles of Wagner’s heroines in opera houses around the world, Ms. Eaglen has first-hand knowledge of what it takes to build vocal stamina and maintain dramatic interest to fill the expansive music and staging of this style. Ms. Eaglen is committed to passing on the benefit of her extensive experience to the Wagner singers of the future.
Participants will learn the style of Wagner’s music with master pianist coaches. Aria and scene repertoire for study, which may be included in the final performance, will be assigned based on accepted participants. Boston Wagner Institute will be limited to a small number of participants, enabling the program to offer a daily private session for each participant. Each participant will be assigned a Wagner opera scene, staged and coached with our dramatic director.
In addition, we will be offering a series of musicology lectures based around Wagner's music and his historical context, taught by Boston-based musicologists from New England Conservatory, Boston University, and Boston Conservatory.
Recognizing the need for training singers with similar voice types together, Boston Wagner Institute will offer every participant an opportunity to learn from their colleagues in multiple studio and master classes with Ms. Eaglen and other guests, to be announced. There will be daily dramatic sessions and stagings for students’ individual scenes.
Ample time and space for private practice and group socialization will be built into the program to aid the retention of new information and set participants up for their future. We hope you will consider applying to join us in the future.
BWI Recent Projects in the Years
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Masterclasses with Jay Hunter Morris, Amber Wagner, and Mark Delavan!
Lectures with Helen Greenwald, Carol Krusemark, and Deborah Burton.
And don't forget Wagner and Vino to kick off the program!Watch the finale scenes concert on YouTube!
Finale Scenes Repertoire:
Tannhäuser: Act II Scene 1, “Dich teure Halle” Elisabeth: Sarai Cole | Tannhäuser: Michael Ash | Wolfram: Joel Balzun | Brett Hodgdon, piano
Tristan und Isolde: Act I Scene 3-4, “O Süsse! Traute!” Isolde: Margaret Branyon-Goodman | Brangäne: Nicole London | Kurvenal: Joel Balzun | Robert Mollicone, piano
Die Walküre: Act II Scene 3, “Raste nun hier” Sieglinde: Calandra Damouras* | Robert Mollicone, piano *Originally cast as Analía Corpas, with Elias Berezin as Siegmund, who were both sick with COVID.
~ Ten-minute intermission ~
Der fliegende Holländer: Act II Scene 5, “Bleib Senta” Senta: Joely Seitz | Erik: Michael Ash | Samuel Tam, piano | Staged by Olga Melendez Valdes, assistant director
Das Rheingold: Vorspiel und Erste Szene, & Vierte Szene “Alberich’s Curse” Woglinde: Katerina Skafidas* | Wellgunde: Calandra Damouras | Flosshilde: Hadassah Meneses | Alberich: Joel Balzun | Brett Hodgdon, piano *Originally cast as Lindsay Greene, who was sick with COVID.
** Also programmed, but unfortunately canceled due to COVID: Lohengrin: Act III Scene 2, “Das süsser Lied verhallt” Elsa: Stephanie Pfundt | Lohengrin: Elias Berezin | Robert Mollicone, piano
Scenes staged by our dramatic director, Chuck Hudson. Assistant director was Olga Melendez Valdes and stage manager was Kyle Seniw, with Kat Skafidas as artistic administrator. Accompanied on piano by Brett Hodgdon, Bob Mollicone, and Samuel Tam. Special thanks to our rehearsal pianist Tristan Leung and ASM Blake Hetherington.
Overseen by Jane Eaglen, artistic director. -
This year, we were able to accomplish a two-week professional intensive for our Wagnerian students, culminating with a scenes showcase. We were so glad to finally work with these passionate singers in-person as a tutti cast for the first time in years. We are so proud of their hard work and progress.
Between July 18-29, masterclasses, lectures, & performances, oh my!
Presented in conjunction with the Boston Wagner Society and the generosity of Boston Conservatory at Berklee.
We even managed to accomplish a stellar impromptu Wagner and Vino night on July 18, presented in collaboration with Opera On Tap Boston and The Burren in Somerville.
All our main events were held at Boston Conservatory 8 Fenway, Boston, MA.
Ben Heppner Masterclass: July 19
Robert Mollicone, piano
Singers:
Tara Jamshidian
Sarah Taylor
Sarai Cole
Adam LoweCarol Krusemark (MGH Voice) Vocal Health Lecture: July 20
Jane Eaglen Masterclass: July 21
Robert Mollicone, piano
BWI 2023 SingersRenée Tatum Masterclass: July 22
Brett Hodgdon, piano
Singers:
Megan Quick
Claire Perón
Analía Corpas
Heidi SkokMark Delavan Masterclass: July 25
Brett Hodgdon, piano
Singers:
Gwenna Fairchild-Taylor
Elias Berezín
Jenny Lynn Ribeiro
Wendy SilvesterHelen Greenwald Musicology Lecture ‘Wagner in Today’s World:’ July 26
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FINALE SCENES CONCERT: July 29, Seully Hall
Die Walküre, Act 1 Scene III, “Ein Schwert”
Sieglinde: Gwenna Fairchild-Taylor
Siegmund: Elias Berezin
Robert Mollicone, pianoLohengrin, Act 2 Scene II, “Euch Lüften”
Elsa: Analía Corpas
Ortrud: Wendy Silvester
Brett Hodgdon, pianoTristan und Isolde, Act 2 Scene I, “Hörst du wie noch”
Isolde: Jenny Ribeiro
Brangäne: Megan Quick
Robert Mollicone, pianoDie fliegender Höllander, No. 5, “Bleib Senta”
Senta: Analía Corpas
Erik: Adam Lowe
Robert Mollicone, piano-Brief Intermission-
Götterdämmerung, Vorspiel
Erste Norn: Heidi Skok
Zweite Norn: Claire Péron
Dritte Norn: Saraï Cole
Brünnhilde: Tara Jamshidian
Siegfried: Adam Lowe
Brett Hodgdon & Robert Mollicone, pianoGötterdämmerung, Act 1 Scene III
Brünnhilde: Tara Jamshidian
Waltraute: Sarah Rose Taylor
Brett Hodgdon, pianoAll scenes staged by Danielle Wright.
Click to view the full final program here, with biographies and special thanks.
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This year, we presented a masterclass run by Jane, where a small group of young Wagnerians workshopped scenes from Lohengrin and Der Fliegender Holländer.
Streamed LIVE on our Facebook, available to watch on-demand.
Saturday, June 18, 2022, 3pm
New England Conservatory’s Burnes Hall (255 St. Botolph)Jane Eaglen, director & clinician
Brett Hodgdon, piano“Euch Lüften die mein Klagen,” Lohengrin, Act 2, Scene II (1843)
Callandra Damouras, Elsa
Maria Bozich, Ortrud“Bleib, Senta,” Der Fliegender Holländer, Act 2, Scene V (1850)
Allyson Bennett, Senta
Mark Tempesta, Erik -
Director: Jane Eaglen
Assistant Director: Danielle Wright
Coach Pianists: Michael Strauss and Robert MolliconeThis year was done virtually during the COVID-19 pandemic. It was rehearsed and coached entirely remotely through low-latency communication software, SoundJack and Cleanfeed, often in conjunction with Zoom.
For their final project, each of the singers from their own home filmed and recorded themselves singing arias. It was then compiled and edited into one compilation.
Click here to watch these singers’ hard work.
Tara Jamshidian, Soprano - “Dich Teure Halle” from Tannhäuser
Paulette Penzvalto, Soprano - “Allmächtge Jungfrau” from Tannhäuser
Megan Quick, Mezzo Soprano - Waltraute’s aria from Götterdämmerung
Adam Lowe, Tenor - “Ein Schwert” from Die Walküre
Katherine Goforth, Tenor - “Winterstürme” from Die Walküre
Tara Gruszkiewicz, Mezzo Soprano - Fricka’s aria from Die Walküre
Rebecca Carden, Mezzo-Soprano - “Geliebte! Komm!” from Tannhäuser
Seth Keeton, Baritone - Dutchman monologue from Fliegender Holländer
Brooke Dircks, Soprano - Senta’s Ballad from Fliegender Holländer
Rebecca Grady Rucker, Soprano - “Einsam in trüben Tagen” from Lohengrin
Timothy di Fiore, Tenor - “Mein Liebe Schwann” from Lohengrin
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Tara Jamshidian, soprano
“So many young dramatic and Wagnerian voices are lost within the shuffle during our formative years. Many institutions don't know what to do with us, or do not want to put in the time and effort it takes to develop our voices and our craft. In my experience, The Boston Wagner Institute is unlike any other program I have come across, and I feel very fortunate for everything I have learned and gained from taking part in it.”
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Saraï Cole, soprano
“It was truly one of the most fulfilling singing experiences I have had. While the coaches, director, and guest masterclasses were knowledgeable, collaborative, and enriching, getting to work and prepare a scene under the tutelage and guidance of Ms. Eaglen was invaluable. I feel both my technique and stage craft have expanded and feel like I have more tools to continue further into this field. Aside from the wonderful learning and music, the atmosphere of the program was one of support, safety to try new things/techniques, and encouragement. I would gladly participate again.”
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Gwenna Fairchild-Taylor, soprano
“I had a really amazing time and am super grateful I had the opportunity to attend. I can’t tell you how much I needed it! It was lovely and super validating to connect and work with everybody and have the opportunity to sing this repertoire with other people who also sing it, learning with and from each other. I left with a renewed understanding of this things I’m needing to work on, but moreover I left feeling super inspired to do that work, I can’t thank you enough!”
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Jenny Ribeiro, soprano
“Your trust in my voice in turn caused me to find a level of contentment and trust in my own voice. Having a large voice doesn't mean to sing large, and I believe that finally sunk in for me at the Boston Wagner Institute this summer! I'm taking away a renewed energy and excitement and LOVE of singing. Not a lot of training programs can say that they've built up the singers by the end of it. Thank you.”