{"id":68,"date":"2021-06-23T10:27:50","date_gmt":"2021-06-23T08:27:50","guid":{"rendered":"https:\/\/katharina-thoma.de.ddev.site\/?page_id=68"},"modified":"2026-01-21T19:05:48","modified_gmt":"2026-01-21T18:05:48","slug":"biographie","status":"publish","type":"page","link":"https:\/\/katharinathoma.com\/en\/biographie\/","title":{"rendered":"Biography"},"content":{"rendered":"<p>Katharina Thoma is an opera director of international standing. Her highly sought after directorial style, informed and influenced by her academic and professional musical background, has led to her working in prestigious opera houses across Europe.<\/p>\n<p>Her growing reputation has led to a string of high-profile projects across Europe, including <em>Tristessa <\/em>(Royal Opera Stockholm), <em>Madama Butterfly<\/em> (Folkopera Stockholm)\u00a0<em>H<\/em><em>\u00e4nsel &amp; Gretel<\/em> (G\u00f6teborg Opera), <em>Vanessa<\/em> and <em>Carmen<\/em> (Malm\u00f6 Opera), <em>La clemenza di Tit<\/em>o (Op\u00e9ra national du Rhin, Strasbourg), Strauss\u2019\u00a0<em>Ariadne auf Naxos<\/em>\u00a0(Glyndebourne Festival, her UK debut in 2013) and her Royal Opera House debut in 2014, directing\u00a0<em>Un ballo in maschera<\/em>.<\/p>\n<p>Katharina has worked extensively in Germany: for Oper Frankfurt, she has directed Wagner&#8217;s <em>Tristan und<\/em> <em>Isolde, Martha <\/em>by Flotow, Mozart\u2019s <em>La finta giardiniera<\/em>\u00a0as well as <em>Die Banditen<\/em> by Offenbach. She also worked at Cologne Opera (<em>Die Frau ohne Schatten<\/em>), Leipzig Opera (<em>Don Giovanni, Cos\u00ec fan tutte<\/em>), at the theaters in Karlsruhe and Kassel and at Oper Dortmund, where she was resident director from 2011\u20132014.<\/p>\n<p>Katharina\u2019s background is musical: she studied piano at the Musikhochschule L\u00fcbeck. Inspired by this musical background, as well as through her work as an accompanist for Lieder and opera, she became interested in directing. From 2002-2004 Katharina held the position of assistant director at the Staatstheater Kassel. This was followed by a period at Oper Frankfurt, where she worked alongside Richard Jones, Keith Warner and Christof Loy.<\/p>\n<p>In 2007 Katharina was awarded second prize at Camerata Nuova\u2019s European Operatic Direction Competition for her directorial concept of Dvo\u0159\u00e1k\u2019s\u00a0<em>Rusalka<\/em>. Her first large-scale projects as a freelance director were\u00a0<em>Piero \u2013 Ende der Nacht<\/em>\u00a0by contemporary composer Jens Joneleit at the M\u00fcnchener Biennale, and Samuel Barber\u2019s\u00a0<em>Vanessa<\/em>\u00a0with Malm\u00f6 Opera, which later transferred to Frankfurt.<\/p>\n<p>Another focus of her work is the training of young singers for the opera stage. From 2008\u20132012, Katharina held the position of lecturer in stage performance at the Musikhochschule Mainz. In 2018, she held a guest professorship at the University of the Arts in Graz, Austria, and since October 2019 she has been Professor at the W\u00fcrzburg University of music, where she heads the opera school.<\/p>","protected":false},"excerpt":{"rendered":"<p>Katharina Thoma is an opera director of international standing. Her highly sought after directorial style, informed and influenced by her academic and professional musical background, has led to her working in prestigious opera houses across Europe. Her growing reputation has led to a string of high-profile projects across Europe, including Tristessa (Royal Opera Stockholm), Madama [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":667,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template\/page_biographie.php","meta":{"footnotes":""},"acf":[],"_links":{"self":[{"href":"https:\/\/katharinathoma.com\/en\/wp-json\/wp\/v2\/pages\/68"}],"collection":[{"href":"https:\/\/katharinathoma.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/katharinathoma.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/katharinathoma.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/katharinathoma.com\/en\/wp-json\/wp\/v2\/comments?post=68"}],"version-history":[{"count":18,"href":"https:\/\/katharinathoma.com\/en\/wp-json\/wp\/v2\/pages\/68\/revisions"}],"predecessor-version":[{"id":803,"href":"https:\/\/katharinathoma.com\/en\/wp-json\/wp\/v2\/pages\/68\/revisions\/803"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/katharinathoma.com\/en\/wp-json\/wp\/v2\/media\/667"}],"wp:attachment":[{"href":"https:\/\/katharinathoma.com\/en\/wp-json\/wp\/v2\/media?parent=68"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}