Ted Huffman

General Management
Ted Huffman is a writer and director for the stage.

He most recently directed L’incoronazione di Poppea for the Festival d’Aix-en-Provence, nominated for Best Production at the International Opera Awards 2022; the world premiere of Stefan Wirth’s The Girl with the Pearl Earring for Opernhaus Zürich, winner of Opernwelt’s Best World Premiere 2022; and the world premiere of Kris Defoort’s The Time of our Singing for La Monnaie, nominated for Best World Premiere in the International Opera Awards 2022.

This season, he will write and direct his third stage work with composer Philip Venables, an adaptation of The Faggots and Their Friends Between Revolutions, based on Larry Mitchell’s cult 1977 book. Faggots is a co-production of Manchester International Festival (MIF), the Festival d’Aix-en-Provence, Bregenz Festival, and Skirball Center (NYU). He also directs new productions of Roméo et Juliette for Opernhaus Zürich (filmed for Arte) and Orlando for Oper Frankfurt, and revivals of The Time of Our Singing for Theater St. Gallen and L’incoronazione di Poppea for Opéra Royal de Versailles and Palau de les Arts Reina Sofía.

His most recent original piece is Denis & Katya (2019), a true-story opera created with Venables for Opera Philadelphia, and subsequently staged by Dutch National Opera, Staatsoper Hannover, Opéra national de Montpellier, and Music Theatre Wales. Denis & Katya won the 2019 Fedora Generali Prize and the 2020 Ivor Novello Award for Stage Work and nominations at the International Opera Awards and the Opernwelt Jarhrbuch for Best World Premiere. Critics have called it “an intimate, haunting triumph” (New York Times); “bracingly original and bleakly powerful” (The Telegraph); “a monumental, dramatically shattering event” (Parterre Box); “a ruthlessly original piece that exposes our modern world…drastically revises the operatic genre” (The Sunday Times) and “the most brilliantly original operatic work I’ve seen in a decade…a sensitive, subtle and deeply questioning meditation on youth, voyeurism, and the age of social media” (Musical America).