Magdalena FUCHSBERGER   Opera director
 
  BIOGRAPHY  

 

In summer 2016 Magdalena Fuchsberger’s staging of THE FLYING DUTCHMAN at the Plovdiv Amphitheatre was the highlight of this year’s festival.

‚Here, The achievement of the Austrian producer MAGDALENA FUCHSBERGERis partzicularly worth mentioning. By using three colors - dark black at the beginning of the play, red for the devastating love and thetransformation and white for the purification and forgiveness – she creates powerful magic. ‘
Der neue Merker

Already in summer 2014 the Austrian artist made her directing debut in Germany. Her OTELLO production at the Music Festival at Gut Immling was hailed both by the audience and the press. ‘Captivating psycho thriller’ 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 collaborated with the director Jossi Wieler. She regularly returns to the Stuttgart State Opera where she performs the revivals of LUISA MILLER, CARMEN, TOSCA.

Magdalena Fuchsberger graduated in Vienna with a staging of Franz Lehár’ s Der Zarewitsch. Her first permanent engagement as an assistant director for Music Theatre, where she also got the opportunity to make her own productions, took the artist to Linz Municipal Theatre. Here, she staged a.o. Händel’s ‘Acis and Galthea’ (musical direction - Dennis Russel Davies) and Menotti’s ‘Amahl und die nächtlichen Besucher’, ‘The Telephone’ and the musical ‘Jekyll & Hyde’. The young artist’s own productions also include Vincenzo Bellini’s I Capuleti e i Montecchi in Vienna.

Apart from her own stagings the young artist worked as an assistant director and guest a.o. at the Vienna Popular Opera (Dominique Mentha), at the Theatre in der Josefstadt (Michael Gampe), at the Castle Theatre Schönbrunn (Reto Nickler), at the Lehár Festival Bad Ischl (Ulrike Beimpold and Leonard Prinsloo), at the Tyrol State Theatre (Reto Nickler and Matteo de Monti), at the Salzburg Festival (Claus Guth) and at the Bregenz Festival (Graham Vick). In summer 2015 Magdalena Fuchsberger was the direc ting assistant of Stefan Herheim in the production „Les Contes d’Hoffmann“ at the Bregenz Festival.

Already at the tender age of 9 the Salzburg-born Magdalena Fuchsberger started playing the violin. After graduating college, she first studied German literature and Philosophy in Vienna. Subsequently, the artist graduated in Musical Theatre Directing with Prof. Reto Nickler at the University of Music and performing Arts in Vienna. During her studies she was responsible for the compilation of the surtitles at the Vienna Popular Opera. In 2004 she was awarded a scholarship by the Bayreuth Festival. Since 2009 Magdalena Fuchsberger is the artistic organizer and associated partner of Salzburg Chamber Music Series “Musica sacra Salzburg”

In the season 2015/2016 she enjoyed great success with her direction of Rossini’s IL BARBIERE DI SIVIGLIA at the Vorarlberg Theatre. In December 2016 she directed the production LA TRAVIATA at the Tirana National Opera and in February 2017 she produced Bernstein’s opera CANDIDE at the Pforzheim Theatre. In the season 2017/2018 Magdalena Fuchsberger has the direction of DAS LAND DES LÄCHELNS at the Coburg Theatre, of DON PASQUALE at the Neustrelitz Theatre and POWDER ON HER FACE at the Magdeburg Theatre.

 

 
 
 
REVIEWS
 
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'
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