Forestilling krediteringer
Kommende forestillinger I dag og frem
Tidligere forestillinger 2008 – i går
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Don Carlos (French version), Verdi
Grand Théâtre de GenèveStage director
Se rollebesætning og besætningLe nozze di Figaro (The Marriage of Figaro), Mozart
Staatsoper HannoverStage director
Se rollebesætning og besætningDie Frau ohne Schatten (The Woman without a Shadow), Strauss
Osterfestspiele Baden-BadenStage director
Se rollebesætning og besætningFremhævede tidligere præstationer
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Don Carlos (French version), Verdi
Grand Théâtre de GenèveStage director
Se rollebesætning og besætning
Le nozze di Figaro (The Marriage of Figaro), Mozart
Staatsoper HannoverStage director
Se rollebesætning og besætningKommende forestillinger
32Salome, Strauss
Opéra National de ParisStage director
Se rollebesætning og besætningtors.20:00
Paris, FranceLe nozze di Figaro (The Marriage of Figaro), Mozart
Staatsoper HannoverStage director
Se rollebesætning og besætningfre.19:30
Hanover, GermanySalome, Strauss
Opéra National de ParisStage director
Se rollebesætning og besætningsøn.20:00
Paris, Franceons.20:00
Paris, Francelør.20:00
Paris, FranceLe nozze di Figaro (The Marriage of Figaro), Mozart
Staatsoper HannoverStage director
Se rollebesætning og besætningsøn.18:30
Hanover, GermanySalome, Strauss
Opéra National de ParisStage director
Se rollebesætning og besætningons.20:00
Paris, FranceLe nozze di Figaro (The Marriage of Figaro), Mozart
Staatsoper HannoverStage director
Se rollebesætning og besætningfre.19:30
Hanover, GermanySalome, Strauss
Opéra National de ParisStage director
Se rollebesætning og besætning
Biografi
Born in Hartford, Connecticut, Lydia Steier first moved to Germany as a Fulbright Scholar following her vocal studies at Oberlin Conservatory of Music in Ohio. Steier’s work on The Lesson in Berlin’s HAU and on the multimedia production of Eight Songs for a Mad King, which was presented in Chicago, Cleveland, New York and Mexico, were the first two productions to bring her significant attention. Following that, Steier directed productions of La clemenza di Tito, and Brundibar for Opera Theater of Pittsburgh, Lohengrin at Los Angeles Opera, Madame Butterfly in Bremen, and The Merry Widow at the Deutsches Nationaltheater Weimar. Her stagings were further invited to festivals in Hong Kong, Dublin and New York. Based on her productions of Busoni’s Turnadot and Leonvallo’s Pagliacci, she was
