Brian Staufenbiel is the creative director and stage director for Opera Parallèle where he has directed and spearheaded the conceptual designs of the company’s productions since it was founded in 2010. Specializing in multimedia, immersive, and interdisciplinary productions, he actively works across a wide range of artistic disciplines collaborating with film and media designers, choreographers and dancers, circus and fabric artists, and designer fabricators. His progressive approach to stagecraft has garnered critical acclaim for many of the company’s productions, including Heggie’s Dead Man Walking, O’Reagan’s Heart of Darkness, Harbison’s The Great Gatsby, Glass’ Orphée and Les Enfant Terribles, Golijov’s Ainadamar, Gorb’s Anya 17, Berg’s Wozzeck, Davies’ The Lighthouse, Blanchard’s Champion, Dove’s Flight.


Last season he directed new productions of Glass’ In the Penal Colony and was director and dramaturge for the world premiere of Today it Rains by Laura Kaminsky and librettists Mark Campbell and Kimberly Reed. Engagements for 2019-2020 and beyond include a new production of Strauss’ Elektra for Minnesota Opera, Stewart Wallace’s Harvey Milk with Opera Parallèle, Miguel Zenon’s Golden City Suite (an immersive design project) with the SF Jazz Center and the creation of a new work for Fort Worth Opera.

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Brian staufenbiel


"RICHARD STRAUSS'S ELEKTRA is all about primal screams, death cries, dissonance and angst. Silent movies are soundless, if often loudly emotional, affairs. Minnesota Opera combined the two in a provocative new production of Elektra that opened on October 5 at the Ordwa...


"Craig Irvin as Orest made a vivid impression, completing a front-line vocal roster whose stamina never wavered through the 100-minute, intermission-free span of the opera...In director Brian Staufenbiel’s updating, the characters of Strauss’ opera are actually actors...


"Director Brian Staufenbiel gave the opera a fluid staging on Sean Riley’s set, which employed a series of moveable pieces. A stack of suitcases in the opening scene at Penn Station, along with a succession of arches and banquettes, were all put to use as elements of t...


"La production de Das Rheingold présentée en première à [samedi] soir à l'Opéra de Montréal était spectaculaire avec ses impressionnants effets scéniques. / The production of Das Rheingold premiered at [Saturday] night at the Opéra de Montréal was spectacular with its...


"Stage director Brian Stauffenbiel told Poe's story in a straightforward manner, which lent a solid footing to the unearthly aspects of the story. . . Burns sang with a wiry bass voice that fit well into the concept of a comic ghost who was more afraid of the teenage t...

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