General Management
Nicola Raab is a prolific, international stage-director who has worked with such distinguished directors as Robert Carsen, Willy Decker, David Pountney, David Alden, Tim Albery, Patrice Caurier and Moshe Leiser.

Her career has taken her to many of the finest theatres in the world, including Bayerische Staatsoper München, Staatsoper Wien, Welsh National Opera, Opernhaus Zürich, the New Israeli Opera, Salzburger Festspiele, Teatro Regio Turino and Teatro La Fenice Venezia.
Her own work includes Soldier and Dancer by Martinu for Statni Opera Praha, Der Kuss with Opera Theatre Company Dublin, Zora D. with IOCN Amsterdam, Kammeroper Wien and BEMUS Belgrade. For Kammeroper Wien she also directed Moskau, Moskau by Shostakovitch and a British-composer double- bill of When she died-death of a princess by Jonathan Dove and 8 songs for a mad king by P. Maxwell Davies.

Further engagements included directing The Marathon by Isidora Zebeljan for Bregenz Festival and Neue Oper Wien, Beatrice and Benedict by Berlioz for Chicago Opera Theatre, A Flowering Tree by John Adams also for Chicago Opera Theatre, Don Chisciotte by Francesco Conti and Artaxerxes by Leonardo Vinci  for Musikwerkstatt Wien and Owen Wingrave for Wiener Kammeroper. For Neue Oper Wien she staged Detlev Glanert’s Scherz, Satire, Ironie und tiefere Bedeutung.

Most recent productions include Thaïs at Los Angeles Opera, Verdi’s Otello at the Royal Danish Opera in Copenhagen (winner of the Arets Reumert Price 2013 for best Danish Opera production of the season), her triumph production of Parsifal, a co-production of the Estonian National Opera and the European Cultural Capital project in an industrial venue at the Tallinn Harbor, Dorian Grey in Bratislava, Tristan und Isolde at the Novaya Opera Moscow, The Cunning Little Vixen in St. Gallen, as well as Massenet’s Thaïs at the Gothenburg Opera and Valencia together with designer Johan Engels. Other recent productions include Il Barbiere di Siviglia in Regensburg, The Io Passion by Harrison Birtwhistle for Kammeroper Wien and Death and the Maiden at Theater St. Gallen.

Future plans include a.o. Written on Skin in St. Gallen, A Flowering Tree at the Gothenburg Opera, Boris Godunov at Savonlinna Operafestival and at the Chorégies d'Orange. At the Royal Danish Opera she will return to stage a new production of Wagner’s Lohengrin.


NICOLA RAAB: J. Adams, A Flowering Tree, trailer Göteborg Opera

Focused and vibrating at the same time


The director Nicola Raab  … (has) created an artistically harmonious and consequently executed vision of Massenet’s magnificent work. It is an interpretation that focuses on the double layered in Massenet’s dream of beauty, an ambivalence that is also somewhat of the life nerve of decadence. It is simply a wise choice to move the story from fourth century Egypt to the Paris salons of the 1890’s. That’s how the excessiveness, the orientalism and the over heated feelings become part of the thoughts around symbolism. The deep red velvet drapery as well as the golden, overly sensuous shimmering belongs to the kind of transgresses and intoxications that can be seen in pictures by Odilon Redon, Fernand Khnopff and Edvard Munch from the same period. It is with amazing finesse and creative richness of detail that the worlds in these pictures are transferred to the stage and it is not unlikely for the viewer and listener to land in an almost narcotic state. It has become a performance of dreams, at the same time sharply focus and with blurred vibrations.

All in all, this is one of the most successful productions at the Göteborgs Opera of the past several years.

Göteborgs Posten (Magnus Haglund), THAÏS / MASSENET, March 2010

Opera for body and soul


In Nicola Raab’s (…) production the story is moved from fifth century Egypt to Paris and the time when the opera was written. This enhances the degradation from theatrical luxury to desert and impoverished nakedness as well as sharpens the purpose typical of its time: the unmasking of the ego. The scene when Thaïs leaves behind her creative existence and steps out of her boudoir, in which she has been completely emerged (you can almost not tell where she ends and the interior begins), is also one of many magically beautiful moments.


The final phrases cut through everything such as mirrors and names and contours – in order for something else to appear. A human being in all her undefined fullness.

Let us call her Thaïs.

Dagens Nyheter ( Martin Nyström), THAÏS / MASSENET, March 2010

Thais’ brilliance lingers


(…) Nicola Raab’s intelligent production.


(…) a theatre-experience that gives you goose bumps.


The meditation at the end of the second act tells the story both of Thaïs last moment in the footlights and the moment when she meets something that may be God – but could also be Art.


Finally one last diva goes up in smoke, but the brilliance around her art has an amazing ability to linger.

Svenska dagbladet (Sofia Nyblom), THAÏS / MASSENET, March 2010

Elegant Thaïs without inhibitions


Nicola Raab’s genial direction …


We have long since stopped feeling shy in front of intimacy, so when GöteborgsOperan now presents an elegant salon  production we can look through the superficiality and allow ourselves to see and enjoy that life’s biggest questions are treated in a fantastic production sparkling with colors and without inhibitions.

Boras tidning (Helen Axelsson), THAÏS / MASSENET, March 2010

Nicola Raab

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Nicola Raab

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