Lauded by the Austin Chronicle as “a rising star in the opera world” and praised by Opera News for his “keen eye for detail and character insight” for which “the result was a seamless, gripping flow,” director Eric Einhorn returns to the Pacific Symphony for a new production of Madama Butterfly and Lyric Unlimited at the Lyric Opera of Chicago for Musto’s Rhoda and the Fossil Hunt in the 2018-19 season. For his company, On Site Opera, he leads the world premiere of Wiancko and Brevoort’s Tale of the Genji at the Metropolitan Museum of Art and Amahl and the Night Visitors. He also makes his debut with Chautauqua Opera directing Figaro 90210! and returns to the Metropolitan Opera for its productions of Muhly’s Marnie, Mephistofele, and La clemenza di Tito. Last season, he led the world premiere of Musto’s Rhoda and the Fossil Hunt at the American Museum of Natural History, Ricky Ian Gordon’s Morning Star, and a revival of his acclaimed production of Il matrimonio segreto, this time at the Caramoor International Music Fesival, for his company, On Site Opera. He also returned to the Lyric Opera of Chicago to direct I puritani and to the Metropolitan Opera to helm the revival of Hänsel und Gretel.
His direction of Dialogues des Carmélites for Austin Opera was awarded “Best Opera” at the Austin Critics’ Table Awards in addition to garnering him a nomination for “Best Director.” He reprised his direction of Dialogues des Carmélites in a return to Pittsburgh Opera, where he has also directed Carmen, Don Pasquale, and Xerxes. His other recent projects include his Lyric Opera of Chicago debut staging Hänsel und Gretel and his subsequent return to the company to direct the world premiere of The Property, a klezmer opera for which he was also adapter, for Lyric Unlimited. He has also directed new productions of Tosca, Turandot, and Orff’s Carmina Burana for the Pacific Symphony; Fidelio for Utah Opera; Der fliegende Holländer in a return to Austin Opera; Carmen with Portland Opera; Giulio Cesare and with Florentine Opera; Le nozze di Figaro with Fort Worth Opera; Alcina and Così fan tutte for Wolf Trap Opera, Orpheus in the Underworld for Glimmerglass Opera; the world premiere of Clark’s Happy Birthday, Wanda June for Indianapolis Opera; a new production of Carmen for the Buck Hill-Skytop Music Festival; Janáček’s The Diary of One Who Vanished for Gotham Chamber Opera; Hans Krása’s Brundibár for Michigan Opera Theatre; staged concerts of Hindemith’s Sancta Susanna and Weill’s Royal Palace for the Bard Music Festival; Cosi fan tutte for Florida Grand Opera outreach and Rutgers University; Douglas Moore’s Gallantry for New York University; as well as Oedipus the King for Klasikos Theater in Pittsburgh.
Mr. Einhorn is the co-founding Founding General and Artistic Director of On Site Opera, a company devoted to presenting site-specific performances. Its previous offerings include Shostakovich’s cartoon opera, The Silly Baby Mouse, at the Bronx Zoo, Gershwin’s Blue Monday presented at The Cotton Club in Harlem, and Rameau’s Pygmalion at Madame Tussaud’s Wax Museum, Paisiello’s Il barbiere di Siviglia at the Fabbri Mansion, the North American premiere of Portugal’s Le nozze di Figaro at 632 on Hudson, a double bill of Argento’s Miss Havisham’s Fire and Berlioz’s La mort de Cléopâtre, Le mere coupable, and Il matrimonio segreto, with performances of the latter also at Atlanta Opera. He has served on the directing staff of the Metropolitan Opera since 2005, where he has previously staged Hänsel und Gretel, Rigoletto, and La cenerentola. Also at the Metropolitan Opera, he has collaborated on two world premieres, Tobias Picker’s An American Tragedy and Tan Dun’s The First Emperor; numerous new productions that include The Nose, Prince Igor, Adams’ The Death of Klinghoffer, From the House of the Dead, Der Rosenkavalier, Giulio Cesare, Anna Bolena, Die Fledermaus, Manon, Tosca, Adams’ Nixon in China, Glass’ Satyagraha; and several operas in the house’s standing repertoire. He has also joined Santa Fe Opera directing the Resident Artist in its scenes programs as well as for the company’s production of Arabella.
He is the former resident stage director for Great Music for a Great City at the City University of New York Graduate Center where he staged additional performances of Brundibár and The Medium. A proponent of Holocaust art, Mr. Einhorn has directed several pieces on the subject including Adam Silverman’s Korczak’s Orphans (co-director of the world premiere staging) with Real Time Opera, a reading of Jo Ellen Hubert’s While Childhood Slept with the Holmdel Theatre Company, and Der Kaiser von Atlantis at Oberlin College. In addition, he has served as resident stage director for the Music at Hillwood concert series at the Tilles Center of Long Island University.
Mr. Einhorn is past winner of the National Opera Association’s scholarly paper competition and is a frequent contributor of book reviews to the National Opera Association’s Opera Journal. He holds a Bachelor of Music degree in Opera Directing & Voice Performance from the Oberlin Conservatory of Music.
“What is striking about the production is the economy of its design and direction...Credit Eric Einhorn, a rising star in the opera world, for leading the artists with unique and creative stage direction... A tremendous experience I won't forget...”
— Austin Chronicle