LouisaMuller
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Keiron Cooke
Representation
About Louisa
A finalist in the 2020 International Opera Awards in the Best Newcomer category, American director Louisa Muller is quickly rising to prominence for her versatility and work of "complex finesse" (The Guardian). Louisa’s recent production of The Turn of the Screw for Garsington Opera was the recipient of a Royal Philharmonic Society Award and named by The Guardian as one of the Top Ten Classical Music Performances of the Year.
Last season Louisa made her Houston Grand Opera debut with a new production of Dame Ethel Smyth’s The Wreckers, returned to Lyric Opera of Chicago to lead its production of Ernani cond. Mazzola, and revived her production of Handel’s Amadigi di Gaula for Philharmonia Baroque.
In 2023/24, Louisa will create new productions of Rinaldo for Pinchgut Opera and returns to Garsington Opera for a new production of Platée after her award-winning debut with the company. Further ahead, Louisa will create new works for Theater an der Wien, Garsington Opera, and return to Santa Fe Opera.
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Season Highlights
News
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Britten's Turn of the Screw
Garsington OperaJul 2022Although Muller directs with an impressively light touch, her staging is bursting with the sort of connective, proliferating detail that hooks the audience into the story, and she fields the many directorial cues Britten wrote into his score with a disarming elegance. Of the many productions I've seen of this work, I reckon that, for subtlety and layers of meaning, Muller's is in a league of its own.
- Peter Reed, Opera Magazine
- 01 September 2022
Louisa Muller directed the production in 2019 and returned to revive it here, preserving the ambiguity – did the Governess see these things or imagine them? Are we viewing her fantasies, like Macbeth’s dagger “proceeding from the heat-oppressed brain”, driven by a frustrated attraction to the employer she must never contact? Muller’s production bears both interpretations, as it should. She has a sure touch for an eerie detail. In the Prologue the guardian’s intimate stroking of the face of the woman to whom he has just subcontracted the raising of his “poor little things”, is the subtlest of transgressions. It is a chilling moment when Miles repeats the exact gesture in Act 2, still more unsettling in the combative context their relationship has assumed.
- Roy Westbrook, Bachtrack
- 03 July 2022