Stephen Langridge is represented by Rayfield Allied General Management.
a visually enthralling production by Stephen LangridgeHugh Canning, Opera
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.
From 2013 he is Artistic Director for Opera and Drama at Gothenburg Opera.
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
- Stephen Langridge
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