Tito Capobianco, Stage Director, is acclaimed for ingenious and versatile treatment of repertory classics, from Baroque to Romantic, verismo, contemporary and his updated setting of operas starting in 1957 with a modernistic version of Puccini’s Tosca. In addition to his unparalleled and distinctive success with his 30 opera productions at Lincoln Center in New York City, Capobianco has staged over 250 productions in Europe, Australia and North and South America for major opera houses, such as Paris, Berlin, Hamburg, Amsterdam, Barcelona, San Francisco, Buenos Aires, Mexico City, Sidney, Spoleto, and the Las Palmas Festival, Spain.
Capobianco’s staging of American world premieres such as Ginastera’s Don Rodrigo and Bomarzo, Menotti’s La Loca, Giannini’s Servant of Two Masters, Dvorak’s Rusalka and Chabrier’s Gwendoline, plus numerous new productions which have been hailed as landmarks in opera history. His productions of Boito’s Mefistopheles, Massenet’s Manon, Handel’s Julius Caesar and Donizetti’s Lucia di Lammermoor have continued to form part of the repertoire of these centers for more than 20 years.
Much of Capobianco’s success as a director may be due to his first-hand experience with every phase of theatrical art; he has directed productions of opera, theatre, ballet and television, and was a stage and film actor in Argentina. After a trail of brillant acoomplishments that include the South American premieres of Stravinsky’s The Rake’s Progress, Prokofiev’s The Love for Three Oranges, Menotti’s The Saint of Bleecker Street, Puccini’s modern Tosca and a new production of Rossini’s La Cenerentola. He left his position as Director-Designer-Technical Director of the famous Teatro Colón of Buenos Aires in 1961 to come to the United States.
During the 1960’s, his collaboration with the soprano Beverly Sills became legendary. This led to the first televised opera production from Lincoln Center in New York City with the production of Rimsky-Korsakov’s Le Coq d’Or as well as the west coast production of Franz Lehár’s The Merry Widow in San Diego in 1977. The most talented artists have participated in his productions: Claudio Abbado, Leonard Bernstein, James Levine, Lorin Maazel, Luciano Pavarotti, Plácido Domingo, Richard Tucker, Nicolai Gedda, Birgit Nilsson, Montserrat Caballé, Sherrill Milnes, Tito Gobbi, Cornell MacNeil, Shirley Verrett, Marilyn Horne, Regina Resnik, Norman Treigle, Justino Díaz and José Van Dam to name just a few.
Throughout his career, Capobiancio has demonstrated his commitment to the educational needs of young artists. In 1968 he founded and became General Director of the Opera Center at the Juilliard School of Music in New York City. He created the Opera Department at the College of Performing Arts in Philadelphia in 1972, The San Diego Opera Center in 1977, and the Pittsburgh Opera Center in 1986. In the late 1970’s, he established the world’s first Verdi festival in San Diego, California.
In recognition of his creative work in Italian and French opera culture, Capobianco has been awarded the Cavaliere della Repubblica by the Italian government and Officier dans l’Ordre des Arts et Lettres by the French government. He has also been distinguished with numerous honorary degrees for his extensive community involvement.
Today, Capobianco concentrates exclusively on teaching young artists in the United States and Europe, including the Rimsky-Korsakov St. Petersburg State Conservatory and the Galina Vishnevskaya Opera Centre in Moscow.
Opera News calls director Jeffrey Marc Buchman “a formidable talent,” and the South Florida Classical Review claims “Buchman has mastered an art beyond the powers of many directors”. Following enormous success directing the premiere of Madama Butterfly for the National Theater in Managua, Nicaragua, Mr. Buchman returned to create a critically acclaimed production of La bohème.
Last season, he mounted a new production of Don Giovanni at the Academy of Vocal Arts in Philadelphia, Don Pasquale for Opera Naples, Carmen for Indiana University, Il barbiere di Siviglia for Lyric Opera Baltimore, a double-bill of Stravinsky’s Mavra with Ainadamar, by Osvaldo Golijov, Magic Flute for the Brevard Music Festival and La traviata for the University of Cincinnati College-Conservatory of Music.
The 2014-2015 season saw Buchman create productions of L’elisir d’amore for Cincinnati College-Conservatory of Music’s summer program, La bohème for Indiana University, Suor Angelica & Gianni Schicchi for Intermountain Opera and the University of Miami, Lo speziale for New World School of the Arts, Manon Lescaut for Mobile Opera, Il barbiere di Siviglia for Syracuse Opera, Don Giovanni for the Miami Summer Music Festival, Cosi fan tutte for the Brevard Music Festival and the World-premiere of Carson Kievman’s Pulitzer Prize-nominated multimedia opera Intelligent Systems, which the South Florida press named one of the “Most Innovative Productions of 2015”. He was also Artistic Director and creator of the ground-breaking arena event entitled LiveArts, which drew together over 1500 performers, including the Grand Rapids Symphony, Ballet, Opera and Broadway.
Nic Muni has directed productions at San Francisco Opera, New York City Opera, Canadian Opera Company in Toronto, Houston Grand Opera, Seattle Opera, Los Angeles Opera, Glimmerglass Opera and Opera Theatre of St. Louis. In Europe, he has directed for the National Theatre Opera Prague, the Kut Weill International Festival, Theater Erfurt, Tiroler Landestheater Innsbruck and Konzert Theater Bern. His revival
of Jenůfa at the Canadian Opera Company in 2003 received Canada’s prestigious DORA Award for “Best Theater Production of the Year.”
Recent productions include: U.S. stage premiere of Das Liebesverbot at Glimmerglass Opera; La Finta Giardiniera & L’amico Fritz at San Francisco Opera – Merola Opera Program; Carmen at Boston Lyric Opera; Cardillac at the Boston Opera House; U.S. Stage premiere of El Amor Brujo/La Vida Breve at Manhattan School of Music; L’elisir d’amore and Cosi fan tutte at the Academy of Vocal Arts in Philadelphia; Don Giovanni at Opera Philadelphia; Payne Hollow and The Turn of the Screw at the Graduate Vocal Arts Program at Bard College; and Florencia en el Amazonas at Boston University Opera Institute.
He served as Artistic Director for the Tulsa Opera (1987-93) and Cincinnati Opera (1996-2005); currently Professor of Stagecraft at the Academy of Vocal Arts and Bard Conservatory of Music in the Vocal Arts Program.
Upcoming projects: Elektra at Michigan Opera Theatre; Dido and Aeaneas /Orpheus Britannicus and Die Fledermaus at Shenandoah Conservatory of Music, where he will also be on faculty for the year; Don Giovanni at San Diego Opera and Don Pasquale at San Francisco Opera – Merola Opera Program. He will serve as guest faculty at Bard Conservatory of Music in the Vocal Arts Program, Peabody Conservatory, and University of Kentucky in Lexington.