At 43, renowned Ukrainian conductor Oksana Lyniv is more than just a global star and an influence in the male-dominated world of orchestra conductors. In 2021, she caused a sensation by becoming the first woman to conduct an orchestra at the Bayreuth Festival – in the 145-year history of this classical music festival that features operas by Richard Wagner. This year Oksana is once again at the maestro’s booth in Bayreuth and, like last time, will take over the musical direction of The Flying Dutchman. The premiere of the show takes place today, August 6th.

And also Oksana Lyniv – art director and initiator of the international classical music festival LvivMozArt in Lviv, founder and principal conductor of the Youth Symphony Orchestra of Ukraine. DW met the star in Bayreuth and chatted with her about her conducting career, about Bayreuth and the sexist debate that erupted there, and how she feels about the war of aggression unleashed by Russia in her homeland of Ukraine.

Deutsche Welle: Mrs. Lyniv, what is it like to be back in Bayreuth a year after a brilliant debut?

Oksana Lyniv: He is well! I am very happy that my very important debut in Bayreuth took place last year. This year, given the circumstances, would be much more problematic.

– The second time around, you’ll probably feel more comfortable and at ease – and less stressed…

– Now I can just focus on the music and not get distracted by this crazy media hype and hype. And frankly, a lot of importance is given to the question of gender. But you are a man or a woman – this has nothing to do with our work. I was happy when I came to the first rehearsal – and a lot of musicians came up to me and said, “We’re really happy that this year we’re playing together again.” Musicians don’t care if I’m a woman or not. What matters to all of us is that we put on great performances and we enjoy the fact that we work together.

“Here in Bayreuth, the debate about sexism is fierce. The women would have been harassed. Even festival director Katharina Wagner reportedly became his target. What was your personal experience and how do you evaluate these debates?

– I was very surprised when I read about it. I have no negative experiences in this regard. From the first day of work in Bayreuth, I constantly felt a great respect for myself – both from all the staff and from the musicians in the orchestra. If Katharina Wagner says that, it means that smoke is not without fire. And very bad, if true. In this case, it is necessary to carry out a verification, because such things have no place either in our sphere or in our society.

– Well, if we talk about the music field in general: what can you say about sexism – based on your own experience and in general?

– It’s no secret that earlier sexism in the field of classical music was very common. Of course, this was related to the myth of the so-called maestro – men with a certain superiority, on whom everyone must count. Of course, this is bad. But as a young conductor, I have had to hear statements from older colleagues or male conductors more often, such as: You will not succeed. What are you trying to do? What are you dreaming about? In general, something like that.

And yes, it is very offensive. And I am glad that in our time it is unacceptable that the conductor and the musicians of the orchestra are obliged to respect each other. I’m also happy that our field is becoming more and more multinational and also more diverse. If we as a society don’t work on our mistakes, there will be no progress.

– The Bayreuth Festival is opening itself more and more to the new, and it also seems to be striving to reach new audiences…

– Yes, I am very happy that the Bayreuth Festival is becoming more and more open and is constantly looking for new formats. This year, a completely new outdoor format was implemented – outdoors in the park next to the Palais des Festivals. His idea is to bring music directly to people, without tickets or seating arrangements. Everyone can come here – with their families and friends, bringing blankets and everything you need for a picnic. A wonderful concept, and the project’s motto is “Faith, Hope, Love”.

– A wonderful motto – especially if you remember the situation in your homeland, Ukraine…

Yes, it really is a tragedy. And I believe that this tragedy now affects everyone – not just those who live in Ukraine, but also all the people who defend European values, democratic values, humanistic values.

People are constantly confronted with death, violence, cruelty. It is very, very difficult emotionally, and you try in vain to find some explanation for it. To a certain extent, I am helped by the thought that there used to be wars and revolutions. However, even then the great composers composed music and left us works that are relevant to us now.

– What can music really change in the desperate situation in which Ukraine finds itself now?

– Unfortunately, we as art people cannot stop the war, we cannot influence the politicians. However, music and art have incredible power of impact. It is the language of our hearts, our souls – and it is a language that also penetrates the hearts of other people. And even if we can’t help directly, we can be compassionate. And compassion gives hope. In turn, hope gives strength to endure difficulties and not fall into despair. If you only see aggression and despair around you, without realizing the light at the end of the tunnel, you will lose your future.