Ted Huffman

General Management
Ted Huffman has established himself in recent years as one of the most sought-after stage directors and writers of his generation. His production of L’incoronazione di Poppea for the Festival d’Aix-en-Provence was nominated for Best Production and the world premiere of Kris Defoort’s The Time of our Singing for La Monnaie for Best World Premiere in the International Opera Awards 2022. The world premiere of Stefan Wirth’s The Girl with the Pearl Earring for Opernhaus Zürich was winner of Opernwelt’s Best World Premiere 2022.

Last season, he wrote and directed 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) and was hailed by the press as “masterpiece” (Manchester Evening News), “meticulously plotted” (Opera News) and “irresistibly, unforgettably compelling” (The Guardian). He also directed new productions of Roméo et Juliette for Opernhaus Zürich (filmed for Arte) and Orlando for Oper Frankfurt, as well as 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 Valencia.

The current season of 2023-24 will see Ted Huffman creating new productions of Stockhausen’s Sonntag aus Licht for Le Balcon Paris and Weill’s Street Scene for Opéra de Paris as well as overseeing revivals of L’incoronazione di Poppea for Oper Köln and Opera de Rennes. Faggots will be presented at the Ruhrtriennale.

In 2019 he wrote the piece 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).