Baritone & Director
Sir Thomas Allen
Sir Thomas Allen is an established star of the great opera houses of the world. He has sung over fifty roles at the Royal Opera House, Covent Garden; in 2012 he celebrated his 40th anniversary of his debut with the company. An acclaimed recitalist, he is equally renowned on the concert platform and has appeared with the world’s great orchestras and conductors. He is Chancellor of Durham University. His many honours include the title of Bayerischer Kammersänger awarded by the Bayerische Staatsoper. In the New Year’s Honours of 1989 he was created a Commander of the British Empire and in the 1999 Queen’s Birthday Honours he was made a Knight Bachelor. Among his proudest achievements is having a Channel Tunnel locomotive named after him; and most recently, being awarded the Queen’s Medal for Music 2013.
John Cox is recognised as one of the major opera directors. He was Director of Productions for Glyndebourne, where he directed works by Mozart, Rossini and Haydn, a celebrated Rake’s Progress with David Hockney’s designs, and a notable group of Richard Strauss domestic comedies: Ariadne auf Naxos, Capriccio, Intermezzo, Die Schweigsame Frau, Der Rosenkavalier and Arabella. He was Artistic Director of Scottish Opera and Production Director for the Royal Opera, Covent Garden. His opera productions have been seen throughout Europe, North America and Australia. In addition he has worked extensively in theatre, television, film and major festivals. Recent productions include Le nozze di Figaro for Garsington Opera, Ariadne auf Naxos in Chicago and Cosi fan tutte in Dallas. He will return to the Garsington Opera in 2017 for Le nozze di Figaro, and in the 2018/19 season will revive Thaïs for the Metropolitan Opera and Cosi fan tutte for the Lyric Opera of Chicago.
Martin Duncan was born in London and trained as a stage manager at the London Academy of Music and Dramatic Art. He is equally at home in Opera and Theatre. He was Artistic Director of the Nottingham Playhouse and Joint Artistic Director of the Chichester Festival Theatre. He co-directed and co-wrote the scenario of the world première of The Nutcracker (Matthew Bourne/Opera North, Edinburgh International Festival) and was Associate Director on the Pet Shop Boys’ Performance Tour and has composed music for over 50 theatre productions. In 2012, Martin was an Artistic Adviser for the London Olympic Culture Festival. His many opera productions include the Royal Opera House, Covent Garden; Scottish Opera; English National Opera; the Glyndebourne Festival; the Bayerische Staatsoper in Munich and the Berlin Deutsche Staatsoper
The internationally acclaimed director Sir Nicholas Hytner is equally at home in Theatre, Opera and Film.
He was artistic director of London’s National Theatre from 2003 to 2015 where he directed many award-winning productions and he is now Artistic Director of The Bridge Theatre, which he co-founded in 2017. He was knighted in the 2010 New Year Honours for services to drama.
He began his career with Kent Opera where his productions included The Turn of the Screw, The Marriage of Figaro, and King Priam. More recently he has directed Don Carlo for the Royal Opera House, Covent Garden and for the Metropolitan Opera; Così fan tutte and La clemenza di Tito for the Glyndebourne Festival; The Magic Flute, Xerxes, Rienzi and The Force of Destiny for the English National Opera; Giulio Cesare and The Cunning Little Vixen for the Opéra national de Paris; Le nozze di Figaro for the Grand Théâtre de Genève and Don Giovanni for the Bayerische Staatsoper, Munich.
Jonathan’s most recent opera engagements include Puccini Tosca and Manon Lescaut for the Royal Opera House, Covent Garden; Janáček Katya Kabanova, Adès The Tempest, Mozart Le nozze di Figaro and Moravec The Letter for Santa Fe Opera; Strauss Elektra and Strauss Die Frau ohne Schatten for the Mariinsky Theatre; Tippett A Child of our Time and Wagner The Flying Dutchman for English National Opera; Mozart Don Giovanni, Britten The Turn of the Screw and Rameau Hippolyte et Aricie for Glyndebourne Festival Opera; The Fairie Queen for Glyndebourne, Opéra Comique and at BAM; and The Flying Dutchman for the Royal Danish Opera.
Adrian Noble was the Artistic Director and Chief Executive of the Royal Shakespeare Company from 1990 to 2003. In addition to his theatre work, Adrian has also directed several successful London West End musicals including Chitty Chitty Bang Bang and The Secret Garden.
His most recent opera productions include a new production of Humperdinck Hänsel und Gretel for the Wiener Staatsoper, Mozart Così fan tutte, Le nozze di Figaro and Don Giovanni for Opéra de Lyon, Verdi Macbeth at the Metropolitan Opera,New York Bizet Carmen for the Opéra Comique, Paris Handel Alcina at the Wiener Staastoper, Handel Xerxes for the Theater an der Wien, Verdi Simon Boccanegra for Opera di Roma and Verdi Don Carlos for the Bolshoi Theatre of Russia.
Described by the New York Times as “opera’s disrupter in residence,” director Yuval Sharon creates an unconventional body of work that seeks to expand the operatic form.
He is Artistic Director of Detroit’s Michigan Opera Theatre, a post he took up in 2020 presenting as his first production for the company Twilight: Gods, a recontextualising of Wagner’s Götterdämmerung. He also founded, and continues to serve as Artistic Director of, The Industry in Los Angeles, an acclaimed company devoted to new and experimental opera that has brought the genre into moving vehicles, train stations and various ‘non-spaces’ such as warehouses, parking lots, and escalator corridors. Sharon conceived, directed, and produced the company’s acclaimed world premieres of Hopscotch, Invisible Cities and Crescent City. He also devised and directed the company’s two performance installations In C at the Hammer Museum and Nimbus in the Walt Disney Concert Hall.
His stage productions in more conventional spaces have been described as “ingenious” (New York Times), “virtuosic” (Opernwelt), “dizzyingly spectacular” (New York Magazine) and “staggering” (Opera News) and recent work includes Wagner’s Lohengrin for the Bayreuth Festival; Mozart’s Die Zauberflöte for the Deutsche Staatsoper; Olga Neuwirth’s Lost Highway for Oper Frankfurt; Peter Eötvös’ Three Sisters for the Wiener Staatsoper and Janáček’s The Cunning Little Vixen and John Adams’ Doctor Atomic at the Staatstheater Karlsruhe (the latter winning him the 2014 Götz Friedrich Prize). Sharon has also directed a landmark production of John Cage’s Song Books for the San Francisco Symphony Orchestra and in Carnegie Hall featuring Joan La Barbara, Meredith Monk, and Jessye Norman and has staged performances of The Cunning Little Vixen for the Cleveland Orchestra.
Sharon recently completed a critically acclaimed three-year residency with the Los Angeles Philharmonic Orchestra, where his projects included newly commissioned works, site-specific installations and performances outside the Hall. Highlights included a new staging of Meredith Monk’s Atlas, an original setting of War of the Worlds performed both inside and outside the Walt Disney Concert Hall simultaneously and a staging of Mahler’s Das Lied von der Erde.
Sharon was honoured with a 2017 MacArthur Fellowship and a Foundation for Contemporary Art Grant for Theater. He serves on the board of Opera America and on the Artist Council for the Hammer Museum,
Fiona Shaw was born in County Cork, Ireland and trained at the Royal Academy of Dramatic Arts. She is one of the most recognised and highly praised actors of her generation, known for her theatre work (Ibsen’s Hedda Gabler, Euripides ‘Medea, Brecht’s Mother Courage and Treadwell’s Machinal) as well as her film and television work (notably, the Harry Potter series, Three Men and a Little Lady, True Blood, Mrs Wilson and Killing Eve).
In the 2018/19 season Fiona will direct a new production of Cendrillon for Glyndebourne, seen first on the 2018 Tour and then in the 2019 Festival.
Fiona has also directed Vaughan Williams’ Riders to the Sea, Henze’s Elegy for Young Lovers and Mozart’s The Marriage of Figaro for English National Opera. Her production of Britten’s The Rape of Lucretia was originally produced for Glyndebourne on Tour and has since been seen at the Glyndebourne Festival and the Deutsche Oper, Berlin. Other recent directing engagements include Cherubini’s Medea for Wexford Festival Opera and a semi-staging of Berlioz’ L’enfance du Christ with the Deutsches Symphonie-Orchester Berlin and Robin Ticciati.