Financing the master classes remained a matter of urgency. Nevertheless, Friedelind doubled the number of participants in 1960, inviting 23 young Americans to Bayreuth: set designers, future conductors, singers, répétiteurs, and six architects – among them Walfredo Toscanini, the grandson of the conductor. Convinced that her classes should include a study of how opera houses are built, she also increased the number of courses on offer. They would take a two-week trip to view famous theatres, see operas and discuss the results of an architectural competition. In June the group went first to Malmö in Sweden in order to visit the city theatre, then to Stockholm to the Congress Centre and the royal theatre at Drottningholm, and then they moved on to Copenhagen to see the Tivoli Concert Hall and the Radio House. In Berlin they visited Hans Scharoun (1893–1972), who was busy building the Philharmonie (it would be finished in 1963). There followed trips to the opera houses of Düsseldorf, Gelsenkirchen, Cologne, Hamburg and Münster. They went to the new theatre in Lünen, which was equipped for special lighting effects, and to the local Geschwister Scholl High School that Scharoun had designed. There followed the Beethoven Hall in Bonn, the Mannheim National Theatre, the Schwetzingen Court Theatre, the Frankfurt Opera House, the Liederhalle and Kleines Schauspielhaus in Stuttgart and finally the Festspielhaus in Salzburg.