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Peter Kazaras

Director

Stage Director Peter Kazaras currently serves as Director of Opera and Music Theater at UCLA.  Previously, he was the Seattle Opera’s Artistic Advisor and Artistic Director of the Young Artist Program.  Of a recent production of Norma with the Seattle Opera, The Seattle Times said “his direction was remarkably good, theatrical and natural at the same time.”  In addition to his work at UCLA, he also directed The Consul for Seattle Opera, a new production of Cendrillon with the Juilliard School, returned to the Merola Opera Program at San Francisco Opera to direct The Rape of Lucretia; and directed the world première of a revised version of An American Tragedy for The Glimmerglass Festival.

 

Nov
2014

Nov-01
La bohème
Washington National Opera
Washington, DC
Mar
2015

Mar-13
La bohème
Dallas Opera
Dallas, TX
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…a gripping, polished ‘Consul’…
 The Consul - “Seattle Opera revives a gripping, polished ‘Consul’…Peter Kazaras’ staging is both vividly realistic and imaginative, especially in dream sequences where he gets even more creative…And this is a production with dramatic ideas aplenty — just the right format for polishing up a seldom-heard gem for a new life on the stage again.” – Seattle Times 
…playful and poignant…
 Cendrillon - “This production, directed by Peter Kazaras, revels in the dreamlike strands of “Cendrillon.” To focus on the private story of Cinderella, Mr. Kazaras, with the support of the veteran French-born conductor Emmanuel Villaume, “pared down” the score, as he put it, cutting some of the public scenes with courtiers and such, along with most of the dance music. To lend the tale immediacy, he sets the story in 1947 Paris…the updated production concept is both playful and poignant.” – New York Times
…nary a dull moment…
Volpone - “Director Peter Kazaras maintained a breezy pace with nary a dull moment and put the singers through kinetic paces, with all sorts of finely timed physical comedy.” – Opera News Online
…powerful staging…
Turn of the Screw - “There is also the powerful staging of Peter Kazaras… better known as a singer, is just now establishing his new career. Nothing previously revealed his talent as surely as “Turn of the Screw.” He makes compelling drama and real characters, even the ghosts.”Seattle Post-Intelligencer
…directs his cast with marvelous wit…
Die Fledermaus - “Director Peter Kazaras directs his cast with marvelous wit and surprising subtlety for a stage production.”The Capital Times
…inventive use of the tiny stage…
Trouble in Tahiti - “The simple production by the director Peter Kazaras made inventive use of the tiny stage.”The New York Times
Stage Director Peter Kazaras currently serves as Director of Opera and Music Theater at UCLA.  Previously, he was the Seattle Opera’s Artistic Advisor and Artistic Director of the Young Artist Program. Earlier in his career, he received worldwide acclaim as an operatic tenor, performing at the Metropolitan Opera, Teatro alla Scala, Deutsche Oper Berlin, Houston Grand Opera, San Francisco Opera, Seattle Opera, Vienna, among many others.  Recently he re-appeared on stage to sing Abe Kaplan in Chautauqua Opera’s production of Street Scene; plus Emperor Altoum in Turandot and Duchesse de Crakenthorp in La fille du régiment at Seattle Opera. 

In addition to his work at UCLA, he also directed The Consul for Seattle Opera, a new production of Cendrillon with the Juilliard School, returned to the Merola Opera Program at San Francisco Opera to direct The Rape of Lucretia; and directed the world première of a revised version of An American Tragedy for The Glimmerglass Festival. Next season he will direct La bohème in a new production for Washington National Opera, which he will also direct at The Dallas Opera.  Additionally, he was invited to give master classes for the Washington National Opera Young Artists in the fall.

Of a recent production of Norma with the Seattle Opera, The Seattle Times said “his direction was remarkably good, theatrical and natural at the same time.” Likewise, of a production of Le nozze di Figaro for the Seattle Opera Young Artist program, he was praised for his “robust and lively” direction and his “clever, fast-paced staging” with reviewers noting that “Staging [Le nozze di Figaro] is a considerable challenge, one to which Kazaras adroitly rises. A dozen sly little gestures quickly establish character — and you can see every one of those gestures in the intimate ambience of the theater.”

With Seattle Opera he also directed Madama Butterfly,Wozzeck, Il barbiere di Siviglia, Falstaff,and Tristan und Isolde; and for the Seattle Opera Young Artists Development Program, Trouble in Tahiti, Rita, L’enfant et les sortilèges, Gianni Schicchi, The Turn of the Screw, A Midsummer Night’s Dream,and Ariadne auf Naxos.

Additional directing engagements include Bernstein’s Trouble in Tahiti for the Caramoor Festival, Le nozze di Figaro and Falstaff at Opera Cleveland, a semi-staged version of Ernst Krenek’s What Price Confidence? at the Austrian Cultural Forum in New York, Puccini’s Suor Angelica and Gianni Schicchi for Hartt College of Music, Tchaikovsky’s Iolanta for the Academy of Vocal Arts, Menotti’s The Medium and Ibert’s Angelique for San Francisco Opera’s Merola Program, Marschner’s Der Vampyr for Florida State University, Mark Adamo’s Little Women at the Cabrillo Festival, and Die Fledermaus for Madison Opera.

Projects for Eos Orchestra have included staging and singing Schuetz’ The Birth of Jesus; staging Arianna Zukerman in a selection of Schubert lieder (which was repeated with Red {an orchestra} in Cleveland); concert staging and lighting for Act III of Adams’ Nixon in China at Alice Tully Hall; staging of Stravinsky’s Pulcinella; and staging a concert reading of excerpts from Bernard Herrmann’s Wuthering Heights.

For Spoleto Festival USA he served as Artistic Advisor and sang The Madwoman in an acclaimed production of Britten’s Curlew River.  He also stageda program of Operetta excerpts for New York Festival of Song, directed three casts in Britten’s The Turn of the Screw for the Chautauqua Institute Music School, and staged, designed lights for, and performed the tenor solos in Britten’s War Requiem for the Milwaukee Symphony.  In addition, he staged the original 1998 workshop of Jonathan Sheffer’s Blood on the Dining Room Floor, which led to an off-Broadway production. He has given Master Classes at Florida State University, Yale and Vassar, where he co-directed their Opera Workshop, and at the Chautauqua Institute School of Music Vocal Department.

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