Das Rheingold

Arcola Theatre, Grimeborn Festival 2019

 NOMINATION FOR OFFIE 2019

BEST OPERA PRODUCTION

( OFF WEST END THEATRE AWARDS )

 

 

 

International Opera Awards Nomination 

 Best Newcomer 2019  

 

 

Die Walküre

Opéra National de Bordeaux 2019

 Das war ein Abend der emotionalen Superlative  –  Die junge deutsche Regisseurin Julia Burbach... hat mit ihrer ersten selbständigen Wagner-Inszenierung einen regelrechten Weitwurf geliefert...So eine intensive und mit ganz neuen emotionalen Facetten arbeitende Personenregie habe ich – wenn überhaupt – bei meinen 111 „Ring“-Inszenierungen in den letzten 53 Jahren nur ganz selten erlebt... Wenn das die „weibliche Sicht“ auf den „Ring“ ist, dann kann man das nur begrüßen…

Online Merker, Klaus Billand

...Die Walküre veut pour accomplir son office cathartique une conjonction de paramètres artistiques si improbable que l’équation paraît à première vue impossible à résoudre. Et pourtant...

Bordeaux prétexte son auditorium pour entreprendre l’ascension de cet Everest lyrique..

Forumopera, Christophe Rizoud ★★★★

La Walkyrie triomphe dans l'Auditorium à l’Opéra National de Bordeaux, qui fait le pari de la jeunesse et de la découverte.

Olyrix, Stéphane Lelièvre

La Walkyrie de remporter - in loco - un triomphe comme on n’en voit pas tous les jours. Comme on le sait, une soirée d’opéra réussie, ce n’est rien d’autre que la fusion parfaite entre une proposition scénique, des voix et un orchestre, et le miracle s’est bel et bien produit ce soir...

Opera Online, Emmanuel Andrieu

 

The Rape of Lucretia  

Arcola Theatre, Grimeborn Festival 2018

WINNER of OFFIE 2019

BEST OPERA PRODUCTION

( OFF WEST END THEATRE AWARDS )

In a world so sensitized to sexual politics, The Rape of Lucretia becomes still more of a conundrum. In her questioning, finely-crafted production for Grimeborn, Julia Burbach struck a bold path...and the layers of commentary by no means veiled the passions and tensions. A full-blooded performance.

Opera Magazine, Yehuda Shapiro

The Rape of Lucretia, boldly directed...first at Glyndebourne in 1946, it may have had the legendary contralto Kathleen Ferrier in the title role, but it can scarcely have been more gripping than this.

 The Observer, Fiona Maddocks  ★★★★

 

...Intense and immediate...This is low budget opera that pays high dividends - exactly what Britton wanted. ...

The Evening Standard  ★★★★ 

...Taut and terrific, thanks to Julia Burbach's meticulous direction...it crackles with tension and incipient dread ...

Whatsonstage, Mark Valencia   ★★★★ 

...It is a triumph ...Burbach, Selwyn and their team tell this story with the utmost clarity and conviction...it is difficult to imagine a more powerful production of this gripping chamber opera...

Playstosee  ★★★★★ 

...Julia Burbach's production sheds an interesting light on the narrative, the characters and, in this case, the audience too...

Thespyinthestalls  ★★★★ 

...It is an emotional sledgehammer to the heart, to the soul and to the #MeeToo climate. Julia Burbach delivers where it matters...

Broadwayworld  ★★★★ 

...In Julia Burbach' s astringent, pressure cooker production, the intensity never burns out...

exeuntmagazine

 

...Julia Burbach's production is intended to make its audience think and in that I think it succeeds...

britishtheatreguide

...It is a powerful and muscular idea...

thereviewshub  ★★★ 

Tosca 

Arcola Theatre Grimeborn Festival 2016

Burbach, a name to watch, turned to Tosca...essentially an intimate and perceptive take on the show we all know and love...another notable innovation was the element of premeditation to the murder. Scarpia had been toying with the knife early in Act 2 and Tosca openly threatened him with it some time before concealing it in her shawl, ready for the final thrust...

Yehuda Shapiro, Opera Magazine

This is truly a classy event...

RemoteGoat  ★★★★ 

...if you do nothing else this summer, go down to the Arcola Theatre and see Tosca as part of the Grimeborn Opera Festival ...

TripAdvisor  ★★★★★ 

Julia Burbach is consistently inventive and flexible, with many felicitous touches along the way...

Live Theatre UK  ★★★★ 

Madama Butterfly 

Bury Court Opera 2016

 

 

…a Madama Butterfly that upstages any London production I’ve yet encountered…

…the company’s inspiring director, Julia Burbach, brought a rare control of intensity and precision. Her work with the principal duo, both Japanese, was mapped out meticulously…

Opera Now, Roderic Dunnett  ★★★★★

…Julia Burbach offered a double perspective by making Butterfly into a yurei-a ghost. Cio Cio San haunted the action that lead to her suicide, observing and reacting to it, but she also’ came back to life’ to participate in it…Burbach’s concept, realized with considerable expertise, worked astonishingly well, making Butterfly wiser after the event and sharpening cruel ironies…

Opera Magazine, Yehuda Shapiro

 

…a Butterfly of such sensitivity and insight that it scored in every possible way…

 

… impeccable and quite frankly masterly director, had worked wonders with establishing the unbelievably intense atmosphere that pervaded…

 

 

... She is a director whose attention to detail is second to none. You could put this Butterfly under a microscope and find nothing that was out of place, gratuitous or misjudge…pure poetry from start to finish…

Seen and Heard International, Roderic Dunnett

 

 

 

 

Madama Butterfly 

Arcola Theatre Grimeborn Festival 2015

 

Critics’ Choice

The Times  ★★★★

…So it’s a bold move to take a work that so many people know and love, and radically reinterpret it…Julia Burbach’s new Madama Butterfly is original, memorable and highly effective; I’ll certainly never look at the story in quite the same way again…the unique twist ending leaves us with a feeling of a story not yet finished…

Londontheatre  ★★★★

The singers worked marvels at firing the audience’s imagination:

we could“see” Butterfly’s child, even though none was present, and Nagasaki harbour was evidently just behind me.

…The truthfulness of the acting was Burbach’s great achievement here…

…I was drawn into the story, told at such painful proximity, far more than ever before…

…this Butterfly packed a hefty punch with its musical and dramatic truthfulness…

Backtrack, Mark Pullinger  ★★★★

…Burbach’s new production of Madama Butterfly draws on traditional Japanese ghost stories to ‘radically reframe’ the opera. The result is haunting on several levels…Both visually and musically stunning, this highly allusive version of Madama Butterfly is well worth watching…

Playstosee  ★★★★

The cast flawlessly pull off a hugely difficult task, the production is

a shining example of how opera can be adapted in an informal and accessible setting.

Broadwaybaby  ★★★★★

…In this version, Butterfly is already dead when the opera begins, with the premise swapping between a ghost world from which she is watching, and real-time, which she is experiencing. The performance is a time-loop – the idea that Butterfly is trapped in a purgatorial limbo. When taking their seats, the audience were faced with a scraggly haired, disheveled Butterfly already on stage, on her knees, almost attacking the floor with a piece of chalk…

 

…This is a nod to her childishness and to going insane. The chalk tally marks on the floor tells us she is stuck, going around and around and around. She’s a prisoner of her own mind…

 

None of this is alluded to in the original story; yet seeing it play out before you doesn’t make you question it. Burbach’s vision made unmitigated and almost painfully obvious sense…

…one bold directorial move from Burbach was the absence of a child actor…the use of a simple white spotlight as a symbol of the boy was incredibly touching. This glow was literally the light of Butterfly’s life…

Candid Magazine, Andrew J. Bullock

 

 

Fairy Queen 

 Bury Court Opera 2014

… it requires dazzling invention to form some kind of cogent narrative…

 

…Julia Burbach starts with an exceptional wheeze – dangerous, unless it works. She sets the opera in a school, of the St Trinian’s era, and concocts a story full of interweavings, impassioned monologues and tentative eclogues, rearranging the set-pieces to suit. She devises ingenious vignettes, as if were off-camera…

 

…The motivation and precision of her cast is exceptional...

 

…It is a clever concept, and Burbach’s blocking mesmerising … 

…filled with events, all relevant textually and emotionally… 

 

If everything about this production is brilliant, the cast come near it too.

Artsdesk

…a dream, a rather marvellous one, is what director Julia Burbach…

…has come up with to draw these elusive strands together…

 

…Burbach’s manipulation of the multifaceted, inventively drilled cast … the massed chorus…at first centre stage and then ranged like watching deities above, in a kaleidoscope of beguiling blocks and rearrangings...was endlessly absorbing…

Seen and Heard International, Roderic Dunnett

 

 

Revivals

Die Frau ohne Schatten,

(Claus Guth)

Staatsoper Berlin, 2017

...unforgettable, unmissable experience...

Bachtrack  ★★★★

...Already seen in Milan and in London, it now reaches Berlin...here, I think, its psychoanalytical and more broadly dramatic focus is sharper...

Seen and Heard International, Mark Berry

 

 

Ariadne auf Naxos

(Christof Loy) ROH 2015

…the production leapt from excellence to euphoria…

…the revival by Julia Burbach may be a model of its kind…

 

Five-star shows are hard to define - they're not necessarily about perfection - but you know when you've seen one. This is a shoo-in.

Whatsonstage  ★★★★★

Revived by Julia Burbach, Christof Loy’s staging remains sharply observed in its detail, highlighting throughout both the comedy and the psychological richness of the piece.

The Stage  ★★★★

 

MusicOMH  ★★★★

... in its fourth revival but seemed to lose none of its edge under Julia Burbach’s direction…

Mark Ronan

Tristan und Isolde

(Christof Loy) ROH 2014

The first act of this revival of Christof Loy’s production was simply shattering - the most potently enthralling performance I have heard in 30 years of Wagnerolatry.

 

The production’s strength lies in its believable characters.

The Telegraph, Rupert Christiansen

 

 

Whatsonstage, Mark Valencia  ★★★★★

 

 

Backtrack  ★★★★★

 

 

Evening Standard  ★★★★★

 

 

Express  ★★★★★

 

 

Financial Times  ★★★★

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 © 2019 by Julia Burbach