Dan Wallace Miller
Hailed as a “visionary director” by The Stranger, Dan Wallace Miller’s stage direction is “riveting… well executed, and relevant.” (CityArts) As Founder and Artistic Director of Vespertine Opera Theater, Mr. Miller dedicates his career to presenting operas in unique spaces that are dramatically engaging and cleverly innovative. His unique concepts and perceptive direction have proven that he is a force to be reckoned with. This season’s engagements include multiple productions with Seattle Opera including Madama Butterfly, Così fan tutte, Béatrice et Bénédict, and Aïda. Future seasons will see Mr. Miller at Washington National Opera and Austin Opera.
Last season, Miller directed a widely lauded production of The Combat, an “immersive baroque pastiche” based on Montiverdi’s Il combattimento di Tancredi e Clorinda, at Seattle Opera. The Seattle Times raved “for those who think opera is an antique, elitist art form with no connection to our own time, here is a show to change your mind”, and hailed Miller’s staging as “imaginative and extremely effective, creating a graceful courtship in the first act, a tense and fraught second act with a deadly swordfight, and a stately processional for the third.” The Stranger praised its focus on “intimacy,” ultimately calling it “a profound experience of theater.” This production launched Miller into the spotlight as a director redefining and updating the experience of modern opera.
Mr. Miller’s Vespertine Opera Theater “…is making opera unfamiliar again in all the best ways…” (The Stranger). His recent productions with the company include the U.S. Prèmiere of Benjamin Britten’s adaptation of Francis Poulenc’s Les mamelles de Tirésias at Seattle’s oldest Vaudeville theater, Columbia City Theater; The Rape of Lucretia in Seattle’s biggest landmark cathedral, St. Mark’s Cathedral; and Heart Mountain, Vespertine Opera Theater’s first commissioned work named after the detention camp Heart Mountain, composed by Sarah Mattox, and based on the real-life journal of Kara Kondo, an internee at the detention camp. This production was performed at the Inscape Arts Building where local Japanese-American community leaders were imprisoned after the attack at Pearl Harbor. In addition to his work with Vespertine Opera Theater, Mr. Miller currently serves as Resident Assistant Director at Seattle Opera. During his tenure with the prestigious company since 2010, Miller has collaborated on productions of Nabucco, Le nozze di Figaro, Maria Stuarda, Der fliegende Holländer, and Hänsel und Gretel.
Other recent engagements include Die Zauberflöte, La traviata, and Kátya Kabanová with Seattle Opera; Silent Night with Atlanta Opera; Die Zauberflöte and Semele with Pacific MusicWorks; Rigoletto with Opera Colorado; and stagings of excerpts from Der Ring des Nibelungen for the Miami Music Festival Wagner Institute.