"Rodula Gaitanou’s thoughtful production brings insight and clarity to Verdi’s tragedy."
The Guardian, Tim Ashley, June 2018
"the characters are well defined, the chorus groupings perfectly handled, and every detail of the staging is a delight."
Financial Times, Richard Fairman, June 2018
In Season 2018/19, London-based stage director Rodula Gaitanou directs a new production of L’oracolo/La Mala Vita on a double bill to open Wexford Opera Festival, and she return to Gothenburg Opera as revival director of Pagliacci/Cavalleria rusticana. Miss Gaitanou returns to Opera Holland Park for a new production of Un Ballo in Maschera and prepares for a US debut in season 2019/20.
A successful 2017/18 season includes new productions of Ariadne auf Naxos for Göteborgs Operan, Sweden, La traviata at Opera Holland Park, London, Guillaume Tell at Victorian Opera, Melbourne, Australia and Lucia de Lammermoor at Opera Hedeland, Hedehusene, Denmark.
Originally a violinist, Rodula Gaitanou studied the Mousikoi Orizontes Conservatory in Athens where she was born and continued her studies in Musicology at La Sorbonne University in Paris. She switched to Opera Staging at Université Paris 8 and undertook Physical Theatre studies at the International Theatre School Jacques Lecoq.
After a season as resident director in the Jette Parker Young Artists programme at the Royal Opera House Covent Garden, Rodula maintains an active relationship at the House and frequently returns as revival director. Additionally, she has worked extensively as associate and revival director for other major opera houses and festivals in Europe (Britain, Spain, France, Italy, Ireland) as well as establishing a career in Australia.
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L’oracolo & Mala vita, Wexford Festival Opera
Both operas, though, were punchily staged by Rodula Gaitanou and skilfully designed by Cordelia Chisholm. Keeping the setting as San Francisco — Chinatown in 1900 gave way to 1950s Little Italy — made thematic sense, suggesting two equally claustrophobic worlds, and Gaitanou’s violent embellishments to both denouements rang true.
Neil Fisher, The Irish Times, 22 October 2018
Director, Rodula Gaitanou’s approach to the opera’s relentless sensationalism was to ramp it up and make the ending even more shocking and gory. In the libretto Uin-Scî, the learned doctor and father of murdered Uin-San-Lui, merely strangles the villain, props him on a bench and pretends to talk to him to avoid detection by the passing policeman. Not content with exacting revenge, Gaitanou’s Uin-Scî starts performing a gruesome surgical removal of the villain’s heart which he bears aloft in gloating triumph before the policeman catches him in the act at the end. It had the audience gasping audibly...Gaitanou’s modernisation was tasteful and clever and even the changed ending…
Andrew Larkin, Bachtrack, 21 October 2018
La traviata, Opera Holland Park
The direction of the third act is flawless.
The Independent, Michael Church, June 2018
This is the most distinguished new Traviata to reach London in years.
WhatsOnStage, Mark Valencia, June 2018
a remarkably complete depiction of the work’s central themes.
The Stage,George Hall, June 2018
A highly successful and engrossing production by Rodula Gaitanou.
Bachtrack, Dominic Lowe, June 2018
Rodula Gaitanou’s La traviata is an exceptionally intelligent affair.
MusicOMH, Sam Smith, June 2018
Ariadne auf Naxos, The Göteborg Opera
Gothenburg Opera's dazzling production
The Sunday Times, Hugh Canning , February 2018
Pure Magic!...If I could only use one word to describe this new production the word would be “inspired”. Director Rodula Gaitanou was an inspired choice for the Gothenburg Opera and together with a superb team she created one of the most memorable and beautiful opera productions I have ever seen.
Seen and Heard International, Niklas Smith, February 2018