Stephen Langridge is represented by Rayfield Allied General Management.
a brilliantly conceived achievement...the stagecraft of this production is stunningBetty Mohr, South Town Star Chicago
Stephen Langridge studied drama at Exeter University.
Particularly noted for his work in the field of opera, he has directed numerous productions worldwide, including at Lyric Opera of Chicago, Salzburg Festival, Stockholm Royal Opera, Tokyo Opera City, Bregenz Festival, Teatro Nacional de Sao Carlos Lisbon, Den Norske Opera Copenhagen, Opera di Roma, Grange Park Opera, Greek National Opera, Volksoper Wien and at the operas of Bordeaux, Malmö and Angers-Nantes.
A strong advocate of contemporary music, he has directed several world premieres, including productions of major new works for the Royal Opera House Covent Garden, Aldeburgh Festival, Nationale Reisopera, and for Glyndebourne.
He is also well known for his large-scale theatre work in unusual settings - including Bernstein’s West Side Story and Shakespeare’s Julius Caesar in UK Prisons, and Ngoma, a multi-racial music and theatre project in South African townships - and for his work with integrated groups of disabled and non-disabled young people with Share Music Sweden. He regularly leads training, development, and education projects for opera companies and orchestras across Europe.
This season he directs a new production of Parsifal for the Royal Opera House Covent Garden.
From 2013 he is Artistic Director for Opera and Drama at Gothenburg Opera.
Please click here to read International Arts Manager‘s article on Stephen Langridge’s plans for Gothenburg Opera.
Royal Opera House (November 2013)
The triumph of this new interpretation, directed by Stephen Langridge and designed by Alison Chitty, is that it de-sanctifies Parsifal : all trace of pseudo-sacred mumbo-jumbo is removed. What we get instead is a visual shorthand, contemporary but timeless, that illuminates the opera’s philosophical complexity while keeping the narrative both straightforward and continually mesmerising. Across a five-hour span, that is no mean feat... The bottom line is that Langridge has divined a Parsifal of intellectual fibre and visual eloquence, matched to a musical performance of exceptional sensitivity under Antonio Pappano. His is not a slow Parsifal, but a spacious, urgent reading with oodles of sensuousness in Act Two and disarming tenderness in the Good Friday music.Andrew Clark, Financial Times *****
Stephen Langridge’s new production confronts this troubled and troubling piece unflinchingly... It’s certainly a dramatically consistent world, dominated by the intensive-care cubicle in which Amfortas is contained, and hardly altering even for the deliberately unexotic realm – flower maidens in headscarves – that Willard White’s Klingsor rules in the second. And instead of ignoring or sidestepping the more unsavoury aspects of the libretto, Langridge does attempt to tackle many of them, sometimes in lurid detail, so that the disjunction between them and Wagner’s sublime music is often disturbingly clear.Andrew Clements, The Guardian ****
He (Langridge) justifies it in the two long hours of the first act, establishing the narrative superbly in a clear way that builds steady tension through extended time-spans and adopts a cool, considered line on Wagner’s pseudo-Christian ritualism — one of the divisive issues in the piece.Michael White, The New York Times
Stephen Langridge’s new production of Wagner’s last opera, Parsifal, grapples intelligently with the big issues of this problematic work.Barry Millington, Evening Standard ****
What is Wagner trying to tell us about Christianity, Buddhism, race, blood, sin, redemption? In Langridge's production, laden with signposts and visual rubric, there was plenty of opportunity to ponder these questions.Fiona Maddocks, The Observer ****
Royal Opera House - Revival
First performed in 2008, Stephen Langridge’s exemplary production of The Minotaur returned, with mostly the same cast and greater clarity and force.Fiona Maddocks, The Observer
Stephen Langridge’s production is stylish, playing out in the wan sunlight and oppressive darkness of Alison Chitty’s set.Erica Jeal, The Guardian *****
Stephen Langridge’s production, designed by Alison Chitty, is as sure-footed as ever.Barry Millington, The Evening Standard
Awesome, forbidding, an opera of unremitting dark power… Birtwistle’s voice is so compelling, and the production so arresting, that the slowly unfolding drama never lets go. Stephen Langridge’s simple but striking production skillfully blends ancient and modern, placing the Minotaur in a circular lair, like the orchestra of a Greek theatre (or a bull-ring) and overseen by a masked Chorus.Richard Fairman, Financial Times
Birtwistle’s visceral piece has lost none of its immediacy since it first appeared at Covent Garden. In fact, although the shock value is as high in Stephen Langridge’s skilful production, the relationships between its major characters seem more intense, and the opera’s psychological message hits harder.Neil Fisher, The Times
The Damnation of Faust
Lyric Opera of Chicago
Hector Berlioz never meant his légend dramatique, La Damnation de Faust, to be staged, but modern directors cannot resist the challenge. Stephen Langridge took up the daunting task with his brilliant new production for Lyric Opera of Chicago at the Civic Opera House. The Lyric’s first staging of any Berlioz work was striking in its edginess, wit and unabashed theatricality. Langridge downplayed the work’s inherent Romantic sentimentality, and the result was a contemporary gloss on the Faust legend of the sort the sardonic devil might have dreamt up for the amusement of guests at a hip soirée in Hades.John von Rhein, Opera Magazine
Royal Opera House - World Premiere
Entirely in keeping with Birtwistle’s music, Stephen Langridge’s production unfolds the drama unfussily, with clarity and directness.Christopher Ballantine, Opera Magazine
The taut splendour of Stephen Langridge's production, brilliantly conducted by Antonio Pappano and inoffensively designed by Alison Chitty, gives it a succes d'estime.Andrew Clark, Financial Times
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