1
Counterstream Radio
Inspect the unexpected
2
Media on Demand
Browse Music and Interviews

Roy Rallo

  

Roy Rallo is a stage director based in San Francisco and Berlin. He has been Staff Director at the San Francisco Opera for 20 seasons. Rallo began working with Southern California’s Long Beach Opera (LBO) after receiving his BA in Music from the University of Southern California, where he was named Artistic Administrator at age 22. He directed new productions of LUCIO SILLA, BLUEBEARD’S CASTLE and ELEKTRA, and helped produce over 15 new productions with the LBO. He subsequently developed a long association with the San Francisco Opera Center, where he has directed LA FINTA GIARDINIERA, and THE BARDER OF SEVILLE. Rallo regularly conceives and directs intimate opera-theater at the experimental San Francisco space, 405 Shrader.

Rallo’s created a series of “Fire Operas”––to date, Purcell’s DIDO AND AENEAS and Weill’s 7 DEADLY SINS—produced in the industrial space of Oakland’s School of Fire Arts, The Crucible. Rallo’s European credits include, ARIADNE AUF NAXOS for Opera National de Bordeaux, DON PASQUALE and THE METHUSALEM PROJEKT, an original music-theater piece for the Weimar State Opera, revivals of Nicolas Brieger’s IDOMENEO in Barcelona and Hamburg, and Jossi Wieler’s ALCINA in Lyon. With Christopher Alden, Rallo has co-directed L’ISLE DE MERLIN for the Spoleto Festival 2007, CARMEN at the Mannheim State Opera, and for AIDA at the Deutsche Oper, Berlin, and TURANDOT in New Zealand. With Nicholas Brieger, he co-directed DOKTOR FAUSTUS at Munich State Opera. His 2004 production of Strauss’ DER ROSENKAVALIER for De Jyske Opera in Aarhus, Denmark, was nominated for Denmark’s prestigious Reumert Prize.

He has served as dramaturg for FAUST at the Welsh National Opera, and IL TROVATORE at De Vlaamse Opera in Belgium. He is a returning teacher and coach for San Francisco Opera Center’s Merola Opera, and has been a lecturer at the San Francisco Conservatory of Music, the University of San Francisco, and New York City’s Parsons School of Design, as well as a visiting professor at the Cincinnati Conservatory of Music.

Ariadne auf Naxos (Prologue) [Opera National de Bordeaux 2010]

We set the opera inside a kind of warehouse cum gallery, the showplace of the opera’s source play, Le Bourgeois Gentilhomme. The opera’s theme is the competition between high and low art, social climbing, and transformation, the inspiration for the creation of a single space that underwent a conversion during intermission (open to public). Walls slid away revealing more hidden spaces where performers explored a more vulnerable side of themselves, and mundane elements that were used in this Prologue are re-appropriated for use during the opera.

Like this? Login or register to make a playlist of your favorites pieces.

Ariadne auf Naxos (Zerbinetta aria) [Opera National de Bordeaux 2010]

We set the opera inside a kind of warehouse cum gallery, the showplace of the opera’s source play, Le Bourgeois Gentilhomme. The opera’s theme is the competition between high and low art, social climbing, and transformation, the inspiration for the creation of a single space that underwent a conversion during intermission (open to public). Walls slid away revealing more hidden spaces where performers explored a more vulnerable side of themselves, and mundane elements that were used in this Prologue are re-appropriated for use during the opera.

Like this? Login or register to make a playlist of your favorites pieces.