Magdalena FUCHSBERGER   Opera director


In 2023 MAGDALENA FUCHSBERGER makes her directing debut at the Vienna State Opera with Poulenc’s “Le Dialogues des Carmelites”. Lately, her productions SUOR ANGELICA (Puccini)/A ROOM OF ONE’S OWN (world premiere by Tarkiainen) at the Hagen Theatre, the premiere of LA COSTANZA VINCE L’INGANNO by Christoph Graupner on the occasion of the Darmstadt Baroque Festival at the Prinz-Georg-Garten and the world premiere of GERADE SEIN UND MENSCH WERDEN: SOPHIE SCHOLL by Karola Obermüller at the Heidelberg Theatre enjoyed great success.
Future projects include the LIFE OF OREST (Krenek) at the Münster Theatre and ONE TOUCH OF VENUS (Weill) at the Opera House Graz.

At the occasion of the season opening 2018/19 the Austrian director Magdalena Fuchsberger performed SIMON BOCCANEGRA at the Hagen Theatre (dramatic composition Francis Hüsers) and Uwe Schweikert wrote in the opera magazine OPERNWELT: "This is one of the best Verdi productions I have seen in the past few years in a German opera house. Hagen truly is worth a visit!". In the Yearbook 2019 of OPERNWELT she was nominated Best Young Talent because of her `radical perspective on Verdi’s Simon Boccanegra.‘

A co-production with the Lübeck Theatre as well as a SALOME production and L’isola disabitata (Haydn) at the Hagen Theatre were cancelled because of the COVID19 pandemic.
Before, she directed LA TRAVIATA at the Rostock Theatre.

In the season 2017/18 Magdalena Fuchsberger impressed with three completely different works: the premiere of the operetta DAS LAND DES LÄCHELNS at the Coburg Theatre, the Italian opera buffa DON PASQUALE at the Neustrelitz Theatre and the Chamber opera POWDER HER FACE at the Magdeburg Theatre. Before, she produced Bernstein’s opera CANDIDE at the Pforzheim Theatre, I BERBIERI DI 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 this year’s festival. In summer 2014 the young 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 Magdalena Fuchsberger was assistant director and evening supervisor at the Stuttgart State Opera, where she collaborated with the director Jossi Wieler and regularly returned here to perform the revivals of LUISA MILLER, CARMEN, TOSCA. In spring 2017 she directed the revival of NORMA at the Geneva Opera House.

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 musicals ‘Jekyll & Hyde’ and ‘Kiss me Kate’. The 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 Wiener Volksoper(Dominique Mentha), at the Theatre in der Josefstadt (Michael Gampe), at the Schlosstheater 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 directing 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 supertitles at the Wiener Volksoper.
In 2004 she was awarded a scholarship by the Bayreuth Festival.
Since 2009 Magdalena Fuchsberger is the artistic organiser and associated partner of Salzburg Chamber Music Series “Musica sacra Salzburg”


Opernhaus Graz – ONE TOUCH OF VENUS
Actually the producer Magdalena Fuchsberger succeeds in turning the opera „One touch of Venus“, written in 1943, into a modern, stage-suitable piece that is perfectly worth existing……
Time and again we can see a choir of male and female soldiers, appearing on the opulently designed rotating stage, equipped with set pieces of female body parts, presenting itself as a dungeon and finally as the Olympia. A hint that creates a direct connection to work‘s date of origin. The costumes, but also the abundant dance performances, entirely in Broadway style, which keep reminding of New York in the 40ies. It is exactly here that lies the charm of this production. The subtle playing with time atmosphere, in which one can anticipate the tragical happenings of World War II, but never really see them, makes this production so extraordinary and finally also worth seeing.
European Cultural News


Theater Münster - Leben des Orest
Magnificent Greek Fun
With Ernst Krndek’s „Life of Orestes“ the Münster Theatre offers more than just a fantastic rediscovery. Right from the start of Magdalena Fuchsberger’s production, the curtain is always slightly open. It only closes at the end. We can see the stagehands changing the stage, the curtain is always stays open. A trick, that never gets worn out here! Also Aron Kitzig’s the video projections are more than just a “addition”, they seem to be a pursuing picturization, a “ It may well be like this!” or “That’s the way it is!”. In one scene we can see a deceased dog, that is brought back to life hyperrealistically every few seconds. A Dog-in-the-Box, just like Orest.
King Thoas’ palace (stage set and costumes: Monika Biegler) actually comprises only a couple of headlamps. From time to time some helping hands carry a couple of discarded Greek pillars through the scene. These “ingredients” are dramaturgically so perfectly defined, they never disturb but masterly communicate with the happenings, loosen, comment, almost complete them complementary rhythmically. …
At the end there were numerous bravos, for an astonishing, original direction. Fulsome praise!
Opernwelt 11/22, Arno Lücker


Theater Hagen - Suor Angelica/ A Room of One’s own
In director Magdalena Fuchsberger’s ingenious view, both pieces mutually comment themselves. … Here, the traditional setting, which strictly follows the guidelines of the Libretto, is not a conventional excuse. On the contrary, Fuchsberger shows the hostile rituals, that rule everyday monastery life, turning the sisters into prisoners and forbidding them their own desires. … Fuchsberger justly left out the mystic connotation with the appearance of the Virgin Mary, eliminating all kind of stage trash by doing so.
For the brainwaves of the merely actionless opera, Fuchsberger uses images that are both drastic and touching. They do not discursively assert the current relevance of the topic, they rather visualize in numerous, little spots, following in rapid succession. In doing so, she also cracks the pathos of Tarkiainen’s minimalism…
A splendid evening! If there were a distinction for opera houses outside the metropolises, Hagen surely would be its first aspirant.
OPERNWELT 7/22, Uwe Schweikert


Staatstheater Darmstadt – Barockoper im Park – LA CONSTANZA
"Constanza" isn’t exactly a piece, that develops dramatic effect, even less in its entire performance, which should take more than three and a half hours. Darmstadt’s new staging takes around 100 minutes. This is an extremely well chosen selection and quite a few single pieces are very powerful in the emotional compaction. Magdalena Fuchsberger’s staging makes use of this fact, without ever depriving the work of its plot structure…
Allgemeine Zeitung


Volkstheater Rostock – LA TRAVIATA
At the Rostock Popular Theatre stage director Magdalena Fuchsberger ( Ioco reported in 2018 on her Don Pasquale at the Theater Neubrandenburg Theatre in Neustrelitz, which plays in the Casa di Riposo, a retirement home for musicians and singers, founded by Giussepe Verdi ) tries to get to the bottom of the text’s and music’s edge zone. Without any acting exaggeration, she presents her own modern and yet credible interpretation of La Traviata. As to Magdalena Fuchsberger, Violetta Valéry isn’t just a victim of circumstances and a projection of male desires. She deliberately takes control of her own destiny. Facing her unavoidable death, Violetta starts to stage her own decease. Already in the first act, the entire furniture is covered up, everything is pointing to her ending. At the feast of the illustrious, but yet completely decadent society , scratching themselves to the blood as if they are in a drug high, she comes to know Alfredo closer. In his submissiveness, he seems to be the right person to accompany her grand departure. The fact that he isn’t her equal and that their love is not perfect and true, becomes obvious in the second picture, where he sings his aria, begging for self-affirmation, thwarted with Annina’s information, Violetta had left to sell her belongings. At the Popular Theatre in Rostock there the singers generally often sing forward, not together. Not only because it serves the acoustics of the house, but also as a stylistic device, an appeal to the audience and particularly as a device to emphasize their self-portrayal and self-adulation. The scene between Giorgio Germont and Violetta, in which the drug addictive courtesan per alter ego lounges herself in the background in seductive poses, is emotionally particularly intense. Violetta will never succeed in completely shedding her past. Supporting Alfredo’s father in his argumentation, Violetta wanders through the room. Yet, Violetta knows exactly that these disputes between father and son, who is a slave to her, will bring an often flint for conflicts at her return. And in appearing at Flora’s feast together with her former patron Baron Duphol ,she definitively carries it too far. When two men duel because of a courtesan, her social status is already much higher as the position that is due to her. In the fourth picture, Violetta sings : „so sterb‘ ich, umgeben von allen meinen Lieben“ , yet she stays alone at the right side of the stage. She tries to make reinsure the remorse of those who are left behind, while Alfredo, Germont and Annina merely pay lip services, sitting at the left side of the stage as in a row of church seats. It doesn’t matter whether this is part of the staging or not, the audience will always chose her side- so she definitively has achieved her aim: immortality in literature and music. The Popular Theatre and Rostock get a rock-solid Traviata. The timeless but empathetic stage set is completed by atmospheric background projections (Aron Kitzig), from an over dimensional camelia unto a dark blizzard on the country estate. This discreetly complements the whole, because it neither intervenes nor replaces lacking requisites. It merely underlines the moods. .. an extremely successful evening, that was completed with thundering applause and standing ovations. The following performances are all sold out.


With this complex, three act melodrama stage director Magdalena Fuchsberger ignites a captivatingly timeless question: What remains when the coquettish Violetta Valéry, her young love Alfredo Germont and his oh so concerned father Giorgio aren’t looked at through roses-colored glasses ? Quite simple: a grown woman, once desired by society but in the end abandoned, who sees – dying - her life pass like a movie in front of her mind’s eye. Even though Violetta and Alfredo get closer to each other, they can never love each other as equals. Consequently and precisely the Austrian stage director splits the unequal couple on stage from time to time to draw a better portrayal of the boy inside Alfredo and of Violetta, who became empathetic because of her life experience. ..In a nutshell: the standing ovations for the productions on the premiere night in the sold out house are well deserved.
Orpheus November/Dezember
Opera experts still consider Verdi’s “Simona Boccanegra” as an insider tip. It might be his most personal, at least his grimmest opera. All the more courageous is the Hagen Theatre`s decision to take the work in the program without shirking away from the essence of the piece: men make history and women are their victims. The young director Magdalena Fuchsberger finds impressive and at the same time oppressive images and spaces to demonstrate the game of power, that also corrupts the offenders, even destroys them. She doesn’t actualize superficially but exposes the emotions of the music, that are physically acted out on stage. Being shockingly radical but at the same time of an utmost precision, this leaves nobody in the audience cold. All the more so as all the participants – soloists, choir and orchestra – do full justice to the requirements of the music. This is one of the best Verdi productions , I have seen in the past few years in a German opera house. Hagen is worth a visit!
Uwe Schweikert (Opernwelt) im Oktober 2018
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


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


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


"Ausbrechen aus dem Kreislauf der Gewalt"
Die Regisseurin Magdalena Fuchsberger im Gespräch