
Collaboration driver in taking conducting route
A common held cliche of conductors as dictatorial figures is becoming a thing of the past, says Australian conductor Ben Bayl.
He believes it is far more rewarding to be a positive collaborator with the musicians he is leading.
"I think the people skills are an essential part of the job, and it's something which I really kind of enjoy, meeting new people, working with new musicians, as it will be in Dunedin."
Bayl will conduct the Dunedin Symphony Orchestra for the first time in two performances of "Sublime Schubert" this weekend on his first visit to the lower South Island.
With only a week to meet the DSO's musicians and prepare for the concert, it is a tight turnaround which is normal for symphony performances.
"It's like a first date with 60 people at once, and they make up their minds very quickly. So the first impression is very important."
So while Bayl does not find he gets nervous before performances, that first meeting with a new orchestra can be a bit nerve-racking.
"Sometimes the very first rehearsal with a new orchestra I do like to get out of the way just so you establish that bond and begin to work together.
"I've heard lots of amazing things about the orchestra, so I'm really looking forward to meeting."
Bayl has arrived in New Zealand from Budapest where he lives with his Hungarian wife and two preschool daughters. He will fit in a visit to his family in Sydney, where he was born and grew up, as well as a performance with the Tasmanian Symphony Orchestra in Hobart on this trip.
The travel is part of the job, especially given Bayl likes to return to Australia whenever possible, although he tries not be away from home for more than a fortnight at a time and if the job requires a longer stay, he often brings his family along with him.
Last year the family came out to Brisbane with him for his season with Opera Queensland which required him to be there for eight weeks.
"I guess it was like having a regular day job."
It was a special project for Bayl as it included Australian acrobatic company Circa, combining acrobatics and opera, in the story of Dido and Aeneas.
"It was a lot of fun. I quite enjoy these ideas of mixing different artistic worlds like opera and acrobatics. You wouldn't naturally put them together but someone had the genius idea to try it and I think it worked really well."
Mixing things up is something Bayl has done a bit of in his life after starting out playing piano aged 4.
"There was music in the family, we had a piano at home. My dad couldn't read music but could kind of play anything by ear and my mum had an aunt who was a piano teacher."
Bayl and his three younger siblings were encouraged to give everything a go, so along with piano Bayl played cricket.
"For me, it was the music that stuck, I think and I was also lucky, even at primary school there was a really good music teacher and a little concert band so I actually played the saxophone as well."
Ben Bayl looks to create a positive collaboration with the musicians he leads.
Then when he went to high school, he wanted to join the orchestra, so started playing the flute.
"I wasn't really good at the flute. I couldn't get a decent sound out of it and I ended up being transferred to the percussion section because I could play xylophone and vibraphone and marimba because they were set up like a piano keyboard."
It was then he started reading orchestral scores, having plenty of time in between the percussions calls to play.
Bayl believes having inspiring teachers and mentors in that time encouraged his continued interest in music. Around this time he became interested in organ and choir music.
However, he never actually wanted to be a professional musician and applied to study law at university. With his place secured, he decided instead to do a gap year, heading to England where he taught piano, travelled and "did the gap year thing". Then he received the opportunity to be the first Australian Organ Scholar of King's College Cambridge.
"This is the point where I thought perhaps I should take this seriously so I never did begin the law degree."
During this time he did a lot of work with choirs and singers which led to his interest in conducting.
"So actually after university I kind of moved away from the organ and church music and went more towards opera, theatre world, orchestras, conducting, and this side of musical life."
He had begun to realise he was not that excited about being a soloist.
"I guess I loved the team nature of music. I loved the collaborative nature of opera and playing in an orchestra which I did a lot as a harpsichordists and keyboard player. I just loved the feeling of being on stage with other musicians, creating something together."
So conducting offered him the opportunity to be involved in team-building and teamwork. Bayl then studied conducting at London's National Opera Studio and Royal Academy of Music.
"Opera, of course, music is just one side of everything that's going on. If you think also about the dramatic action, lights, costumes, stage, it's something which you create, which music is an important part of. So I just really enjoy that process."
It's not an easy path to choose. First Bayl took apprenticeship roles with experienced conductors. He was appointed Assistant Conductor to Ivan Fischer at the Budapest Festival Orchestra and the Konzerthausorchester Berlin. He also assisted Sir John Eliot Gardiner, Yannick Nezet-Seguin, Daniel Harding and Richard Hickox with ensembles such as the Chamber Orchestra of Europe, Orchestre Revolutionnaire et Romantique and Mahler Chamber Orchestra.
"That's also a very good way to learn what to do or indeed what not to do in some cases. So I think that vocational side of it is really important, because the thing really with conducting is that you can't just practice in front of a mirror. It's a reactive activity, and I believe you can only learn by doing and practice by doing."
That is what makes conducting difficult, he says. "You need the hours in front of musicians to hone your craft."
Having and developing people skills is an important part of that journey, Bayl believes but it is often one not taught in conducting courses.
Working as a freelance conductor, Bayl has found the music world in Europe to be 90% recovered from the turbulence that Covid-19 wrecked on the industry.
"Its more or less back to where it was, but I think there is a little bit more caution in terms of long-term forward planning and programming. It's just taken a long time for the ecosystem to recover. There is more uncertainty."
On the positive side, if you can look at it that way, Bayl says is that people seem to appreciate live music much more now than they did in the past.
"You can't match that feeling of being in the room."
For Bayl there was no safety net or proper financial support during those times and his wife was pregnant with their first baby when Covid hit.
Having both Australian and Netherlands passports, thanks to his father, Bayl was able to move between countries. So they visited Australia twice in 2021 for concert performances going through hotel quarantine both times.
Those experiences made him think more about his career as a whole so he did some online training in leadership management.
"I looked at just broadening my skills beyond the podium and used the time to upskill as well."
These days he has a full schedule. Once he returns from Australasia he has concerts with the Warsaw Chamber Opera and the Hungarian National Philharmonic Orchestra followed by concerts in Amsterdam and Stuttgart.
"No two days are the same really. I would say that working with orchestras is a bit different to opera because with an orchestra, with a symphonic programme, it's usually contained within a week. Opera's a bit different, especially if it's a new production, because it tends to take up more like five to seven weeks."
One of his more recent highlights has been La Fest in Stuttgart, an opera which is a festival of baroque music and dance. It was about how human's celebrate events in their lives both happy and sad. Bayl, a choreographer and director, spent 18 months creating the work.
"It was a very unusual show with the orchestra on the stage and 48 different pieces of music from 30 different composers and that was a huge project which is still going."
He puts his interest in baroque music down to his time playing the organ and working with church choirs as they performed a lot of old music on historic instruments or copies of.
"For me its an interesting sound world like being able to recreate a sound that those composers would have been familiar with which is different to the sound of a modern orchestra because the instruments have changed and developed in many ways, especially the strings.
"So when I do Baroque music with a modern symphony orchestra like we do some Handel fireworks music next week I do try with the orchestra to explore as much achieving that sound world with the modern instruments as we can."
Bayl is also the founder of the Australian Romantic and Classical Orchestra, although he no longer works with it, and is involved with English group the Hanover Band, an orchestra that plays on historic instruments music from the classical period.
"We actually did a very big project in the pandemic. We recorded all the Beethoven symphonies for digital video broadcast basically in two weeks."
When not working with companies, he finds there is plenty of work to do learning new music and preparing for upcoming concerts. And while he has a manager there is still work involved as there is with any small business.
"You have to be your own accountant, publicity, logistics. It's like running a small business for one which is also what they don't teach at college. I feel like conductors should have an economics degree, a psychology degree, a music degree and a lot of experience and then you can start to get somewhere."
Bayl, who is in his mid-40s, says there is always things to learn in the job whether it is how to do things better or interpret a score in a different way.
"I think that's true especially with conducting. I think the amount of experience is really, really important and I always feel that there's more to know. There's always more to learn. There's always more depth to something and I think that should not be underestimated."
TO SEE
Sublime Schubert Dunedin Symphony Orchestra, July 19, 5pm. July 20, 3pm, King's and Queen's Performing Arts Centre.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Scoop
5 hours ago
- Scoop
L.A.B And Stan Walker Announce Summer Tour With Special Guests
Press Release – NikNak Media After tearing up stages across New Zealand and Australia this past summer, the incredible combination of L.A.B and Stan Walker will again join for three memorable outdoor shows this summer – including a return to L.A.B and Stan Walker's home of theBay Of Plenty; a one-off Australian show on the Gold Coast; and L.A.B's first Auckland show in over four years. Presented by Loop, the first show will take place on Saturday December 27, 2025 at Wharepai Domain in Tauranga followed by Saturday January 3, 2026 at Broadwater Parklands, Gold Coast. The final show will take place on Saturday January 31, 2026 at Auckland's Trusts Arena Outer Fields. These three special shows will see massive line-ups including: L.A.B, Stan Walker, Aaradhna & Te Wehi (All Shows). Corrella (Tauranga only). Tiki Taane (Gold Coast only). Nesian Mystik (Auckland only, first show in Tāmaki Makaurau in over 15 years). Tickets for all three shows go on sale Thursday, July 31 at 12pm from with Afterpay available for all shows. Sign up for pre-sale access for all shows from These three outdoor shows will be the perfect summer day out, with a collection of acts who represent Aotearoa summertime all in one place. As a special treat, each show will see a different artist added to the line-up, giving each city a unique line-up not seen anywhere else. Tauranga will see Corrella on the line-up, bringing with them their high-energy brand of reggae/soul. Auckland will see the legendary Nesian Mystik performing their first show in Auckland in over 15 years. Gold Coast gets the ultimate party-starter Tiki Taane, bringing his epic One Man Band set up on the road back to the GC. These shows will be L.A.B's first headline shows since winning the Te Manu Mātārae Award at the 2025 Aotearoa Music Awards, an award acknowledging an artist's impact on the music landscape. Their most recent album L.A.B VI included the hits 'Take It Away' and 'Casanova', and 2025 has seen them already touring across the globe. This will be their only headline shows in NZ and Australia this coming summer, so expect three massive days out. Tauranga will be a return home for L.A.B for the first time in over two years, while their Auckland performance will be the first in Tāmaki Makaurau in over four years. Stan Walker is an artist who continues to go from strength to strength. Taking home the Best Māori Artist and Mana Reo awards at the 2025 Aotearoa Music Awards, Stan's captivating live show sees him combine with his longtime band, The Levites, creating a powerful experience with every performance. Fresh off of multiple visits to the United States through 2025, and with new music on the way, Stan will bring his ever-expanding catalogue of hits to the stage at these shows. All three shows will see L.A.B and Stan Walker joined by Aaradhna and Te Wehi. One of the most stunning voices in Aotearoa, Aaradhna announced her return with her acclaimed 2024 album SWEET SURRENDER. The album saw her take home Best Soul/RnB Artist at the Aotearoa Music Awards, with select live performances over the past 12 months reminding audiences why she is a true legend of the scene. Each show will be opened up by the fast-rising Te Wehi. The Bay Of Plenty native has quickly become one of the most sought-after artists in the country, already boasting three #1's on the Aotearoa Hot Singles Chart. His unique blend of country-tinged reggae will be the perfect stage setter for a massive day of live music. These three shows see a line-up of the finest Māori/Pasifika artists in Aotearoa combine for a series of summer shows that aren't to be missed. Be sure to secure tickets for L.A.B's NZ summer tour. Presented by Loop, thanks to Kirin Hyoketsu, Corona, Mānuka Phuel & Mai FM.


NZ Herald
6 hours ago
- NZ Herald
Frank: Stories from the South, episode 10
Alaifea was among those receiving his malofie. Photo / Frank Film For the diaspora community, receiving their malofie later in life, like Alaifea, is a cultural coming-of-age. Photo / Frank Film Alaifea, 33, was among those receiving his malofie and says he feels honoured to share the experience. 'I'm super emotional anyway,' he says, 'so I'm just gonna be an absolute trainwreck for the next few weeks. I wear my heart on my sleeve.' Traditionally in Samoa, boys receive their malofie in their teenage years, as a rite of passage into manhood. For the diaspora community receiving their malofie later in life, the process is a cultural coming-of-age. 'Now, it is a matter of moving to a new life – a shedding of the old skin, I suppose,' says Alaifea. Alaifea's wife, artist Nina Oberg-Humphries. Photo / Frank Film Alaifea's wife, artist Nina Oberg-Humphries, says one thing she admires about her husband is that 'above all else, he loves being Samoan'. 'This [malofie] is really special because, not that it cements his identity but, you know, I can't imagine the feeling of being able to speak the words of your ancestors and then being able to bear the marks of them as well,' she says. Nina Oberg-Humphries admires how her husband loves being Samoan. Photo / Frank Film Poasa Alaifea was motivated by his sister's death. Photo / Frank Film The motivation to get tapped surged for Alaifea last year, after his sister died. 'I felt this great sense of urgency,' he says, 'I won't let another woman of influence in my life see me without the pe'a.' The male malofie, also called a pe'a, covers two-thirds of the body, with patterns of thick black lines, dots and arrows spreading from the shins to halfway up the torso – front and back. The female malofie, called a malu, covers less of the skin and takes one or two days to produce. The tufuga taps free-hand, tailoring each design to the unique journey and lineage of the recipient. Tufuga Su'a Peter Sulu'ape travelled from Auckland to Christchurch to perform tā tatau. Photo / Frank Film Most of the people receiving their malofie this month are New Zealand or Australian-born. Photo / Frank Film 'It's bigger than just tattooing, this is the one thing that every Samoan wants to be,' says Tufuga Sulu'ape. 'To mark by the pe'a actually is the closest connection to our culture.' Most of those receiving their malofie this month are New Zealand or Australian-born. 'So part of the diaspora,' says Alaifea. He acknowledges that it can be controversial for those outside of Samoa to receive their malofie. 'There's definitely a growing interest in it because, as we move into second and third generations of Pacific people living and being born outside of Samoa, there's a growing disconnect – a wanting, or a longing, for individuals to be able to have that connection,' says Alaifea. Poasa Alaifea under the 'Au. Photo / Frank Film The word tatau is derived from the sound of the tapping and the Samoan word for connection. Sulu'ape says preventing those who are not Samoan-born from receiving their malofie puts a barrier between a person and their culture. 'This is a mark of your identity, showing people that you are from there. We shouldn't have any reasons that you cannot [get the tattoo],' says Sulu'ape. The word tatau is derived from the sound of the tapping and the Samoan word for connection. Photo / Frank Film But the process is ruthless. 'You're literally faced with all of your demons – there's nowhere to run,' says Alaifea. 'It really is not only the shedding of the skin, it's almost like a shedding of your soul.' Basically, he says, 'we're going to be having a whole bunch of open wounds on our body'. The tapping sessions are usually two to five hours per day, but this is tailored to each recipient depending on how much they bleed and how quickly their wounds heal. The tapping sessions last around two to five hours a day. Photo / Frank Film Every strike was painful for Alaifea. Photo / Frank Film 'Every strike is painful. Honestly, it's such a weird experience, because it's both beautiful and torture at the same time,' says Alaifea. He says of all the people he spoke to about receiving their pe'a, every one said that, at some point during the process, they wanted to quit. On day one, Alaifea lies surrounded by family on woven mats (falalili'i). His young daughter holds his hand. He closes his eyes. The tapping begins. Sign up to The Daily H, a free newsletter curated by our editors and delivered straight to your inbox every weekday.


Scoop
6 hours ago
- Scoop
Australia Beats New Zealand To Win The Trans-Tasman Best Tasting Tap Water Title
23 July 2025 – Australia has won the coveted trans-Tasman title of Best Tasting Tap Water. Earlier tonight, Timaru District Council's Seadown water treatment plant – the current New Zealand champion – went head-to-head with Australia's reigning titleholder, Isaac Regional Council's Glenden Scheme from Queensland. The showdown, affectionately known as the 'Bledisloe Cup of tap water tasting', took place in Newcastle, New South Wales. Timaru earned its place in the trans-Tasman final after taking out New Zealand's National Water Taste Test. Then event, sponsored by IXOM, was held on 29 May at the Water Industry Operations Group of New Zealand (WIOG) annual conference and awards in Nelson. Municipal water suppliers from across the country were invited to submit samples of their finest drop, with the Seadown plant ultimately crowned this year's national winner. Australia's competition followed a similar process. Water authorities from both regional and metropolitan areas competed in state-based heats, with the winners advancing to the national final. Isaac Regional Council's Glenden Scheme emerged as the overall Australian champion. The IXOM-sponsored Trans-Tasman Water Taste Test is a fun way to raise awareness of the quality of drinking water in New Zealand and Australia, and to recognise the efforts of local water operators and their teams to deliver valuable water services to their communities. During judging, water samples are subjected to a blind taste test and rated according to the 'Water Tasting Wheel'. The Wheel outlines some of the attributes water professionals use when assessing water such as colour, clarity, odour and taste. Think 'wine tasting' without needing to spit out the samples and you won't be far wrong. 'Many of us turn on taps for a drink, to cook and to shower, with little thought about the complexities involved in operating and maintaining the water infrastructure,' said Joshua McIndoe, Chair, WIOG. 'The competition highlights the dedication of individuals and organisations that work tirelessly to provide their communities with safe, high-quality drinking water every day.' Mr McIndoe also acknowledged IXOM's support of the Trans-Tasman Water Taste Test. 'IXOM's steadfast commitment to the industry enables us to run this competition and celebrate the critical work of water service providers in both New Zealand and Australia,' he said. 'IXOM is proud to be the sponsor of the prestigious 2025 Trans-Tasman Water Taste Test competition,' said Sean Eccles, General Manager New Zealand, IXOM. 'IXOM is a leading supplier of water treatment chemicals to the water sector. With over 100 years of expertise, IXOM locally manufactures and supplies chemicals to water treatment plants all over New Zealand and Australia. We strive to raise standards and innovate across the industry, and help to ensure everyone has access to safe, clean and great-tasting drinking water.'