Magdalena FUCHSBERGER   Opera director
 
  BIOGRAPHY  

 

On the start of the season 2018/19 the Austrian director staged SIMONE BOCCANEGRA at the Hagen Theatre ( dramatic composition Frances Hüer). Uwe Schweikert wrote on this production in the German Opera Magazine Opernwelt: `This is one oft he best Verdi productions I have seen at a German opera house for years. Hagen really is worth a visit!‘

In the season 2017/18 Magdalena Fuchsberger succeeded with 3 rather different plays. The premiere of the operetta DAS LAND DES LÄCHELNS at the Coburg Theratre, the Italian opera play DON PASQUALE at the Neustrelitz Opera and the chamber opera POWDER HER FACE at the Magdeburg Theatre.

Before, she directed Bernstein’s opera CANDIDE at the Pforzheim Theatre, the BARBIERE DE SIVIGLIA at the Vorarlberg Theatre and LA TRAVIATA at the Tirana National Opera.

In summer 2016 Magdalena Fuchsberger‘s staging of THE FLYING DUTCHMAN at the Plovdiv Amphitheatre was the highlight of the festival. ‘The achievements of the Austrian director Magdalena Fuchsberger is particularly worth mentioning. By using three colors – dark black at the beginning of the play, red for devastating love and transformation and white for purification and forgiveness – she creates powerful magic.‘ Der neue Merker

Already in summer 2014 the young Austrian made her staging debut in Germany. Her direction of OTELLO at the Immling Music Festival in Chiemgau was hailed by audience and press alike. ‘Captivating psychothriller’ or ‘Modern, courageous and poignant’ were just some of the review’s headlines.

From 2011 to 2014 Magdalena Fuchsberger was assistant director and evening supervisor at the Stuttgart State Opera, where she worked in close collaboration with the director Jossi Wieler. Regularly, she returns to the Stuttgart State Opera as guest director, performing the revivals of LUISA MILLER, CARMEN and TOSCA. In spring 2017 she had the direction of the revival of NORMA at the Geneva Opera.

The artist had her first permanent engagement as assistant director in the music theatre field at the Linz Municipal Theatre. Here, she directed Händel’s ACIS AND GALATHEA (musical direction Dennis Russel Davis), Menotti’s AMAHL AND THE NIGHT VISITORS, THE TELEPHONE and the musicals Musicals JEKYLL & HYDE and KISS ME KATE. Her own stagings also include I CAPULETI E I MONTECCHI by Vincenzo Bellini in Vienna.

Apart from her own stagings, Magdalena Fuchsberger worked as an assistant director a.o. at the Vienna Popular Opera ( Dominique Mentha), at the Theater in der Josefstadt ( Michael Gampe), at the Schloßtheater Schönbrunn ( Reto Nickler), the Lehàr Festival Bad Ischl (Ulrike Beimpold and Leonard Prinsloo), the Tyrolean Municipal Theatre ( Reto Nickler and Matteo de Monti), the Salzburg Festspielen ( Claus Guth) and the Bregenz Festival (Graham Nick) . In summer 2015 Magdalena Fuchsberger was Stefan Herheim’s assistant director in the production ‘Les Contes d’Hoffmann’ at the Bregenz Festival.

Alread at the tender age of 9 the Salzburg-born Magdalena Fuchsberger started playing the violin. Aftzer graduating college, she first studied German Lierature and Philosophy in Vienna. Subsequently, she graduated in Musical Theatre Directing with Prof. Reto Nickler at the University of Music and Performing Arts in Vienna.

While still studying, she made the compilation of the subtitles at the Vienna Popular Opera. Magdalena Fuchsberger obtained her diploma in Vienna with the direction of Franz Léhar’s ‘The Tsarevitch’. In 2004 she became a scholarship at the Bayreuth Festival.

Since 2009 Magdalena Fuchsberger is the artistic organizer and the associated partner of the Salzburg Chamber Music Series “Musica Sacra Salzburg”.

In the season 2019/20 she directs LA TRAVIATE at the Rostock Popular Theatre and returns to the Hagen Theatre with SALOME. In 2020/21 she directs for the first time at the Heidelberg Theatre. She will stage the world premiere of SOPHIE SCHOLL.

 

 
 
 
REVIEWS
 
Landestheater Coburg – Land des Lächelns
In the Coburg production Magdalena Fuchsberger even goes a little bit further: Instead of an emotional piece play in an oriental scenery, she presents a psychoanalysis with music, already marking in the overture by scenic highlights. The Austrian producer gets to the bottom of this drama of renunciation. Underneath, she tells the story of a young woman’s failed self-liberation, using highly symbolic imagery, that immediately denies every form of false sentimentality. An ambitious and exciting approach and an imaginative and inspiring result.
Coburger Neue Presse – Dieter Ungelenk
Theater Magdeburg - Powder Her Face
Enthralling material, which the producer Magdalena Fuchsberger and the conductor Hans Rotman have consequently transmitted.
Mitteldeutsche Zeitung
www.mz-web.de

 

But is it possible to set the notorious scenes in a way, they don’t seem disreputable? Yes it is, as the producer Magdalena Fuchsberger proves in many ways… .. „Powder Her Face“ produced by Magdalena Fuchsberger is a production which can absolutely compete with the great international opera productions. And if you want to know how to musically stage a fellatio, don’t miss this production.
Anna Lena Kramer
www.annalenakramer.wordpress.de

 

International Music Festival Immling - OTELLO

'Clearly, Magdalena Fuchsberger has intensively dealt with the literary background of 'Otello' and let herself inspire by Verdi's music. Doing so, new views and scenes arose, that don't correspond directly to the the libretto...And she succeeds in creating great magic opera moments, thanks to her delicate, well-thought-out direction...'

 

'The director, Magdalena Fuchsberger showed the audience a brandnew view on the play. Desdemona is the dominant character and Otello is weak and undecided. Already at his first appearance, she has to encourage him to greet the people and the impression arises that that he isn't quite sure if it was him, who countersank the Turkish armament or rather the storm. That's probably why Otello allows Jago, a rather repellent figure who is constantly scratching himself, to plunge him into misfortune. In the final sceneDesdemona doesn't come to death and when Otello in tends tio plunge the knife into his chest, she knocks the weapon out of his hand. This interesting direction -with its absolutely great role portrayals- obviously offes numerous interpretation possibilities. And so after the tumultuously celebrated premiere, you could hear numerous discussions on various views on the play. Come to Immling and look for yourself. And if you have the oppurtunity to buy some tickets, don't hesitate to visit this 'Otello'
Der neue Merker
www.der-neue-merker.eu