Lauded by the Austin Chronicle as “a rising star in the opera world” and praised by Opera News for his “keen eye for detail and character insight” for which “the result was a seamless, gripping flow,” director Eric Einhorn returns to the Florentine Opera to direct Giulio Cesare and the Pacific Symphony for Orff’s Carmina burana, both new productions, in the 2013-14 season. He also returns to the Metropolitan Opera to stage La cenerentola and for the company’s new productions of Prince Igor and Die Fledermaus as well as for The Nose and Tosca. The summer will find him again at the helm of the company he founded two seasons ago, On Site Opera, for a new production to be announced. Last season, he made his debut with the Lyric Opera of Chicago staging Hänsel und Gretel. He also directed a new production of Tosca for the Pacific Symphony and returned to the Metropolitan Opera. He received rave reviews for his direction of Gershwin’s Blue Monday with On Site Opera at Harlem’s historic Cotton Club.
His recent direction of Dialogues des Carmélites for Austin Lyric Opera was a resounding triumph and was awarded “Best Opera” at the Austin Critics’ Table Awards in addition to garnering him a nomination for “Best Director.” He reprised his direction of Dialogues des Carmélites in a return to Pittsburgh Opera, where he’s also directed Carmen, Don Pasquale, and Xerxes. His other recent projects include Fidelio for Utah Opera, Turandot with Florentine Opera, Le nozze di Figaro with Fort Worth Opera, Alcina and Così fan tutte for Wolf Trap Opera, Orpheus in the Underworld for Glimmerglass Opera, a new production of Carmen for the Buck Hill-Skytop Music Festival, Janáček’s The Diary of One Who Vanished for Gotham Chamber Opera, Hans Krása’s Brundibár for Michigan Opera Theatre, staged concerts of Hindemith’s Sancta Susanna and Weill’s Royal Palace for the Bard Music Festival, Cosi fan tutte for Florida Grand Opera outreach, Douglas Moore’s Gallantry for New York University, as well as Oedipus the King for Klasikos Theater in Pittsburgh.
Mr. Einhorn has served on the directing staff of the Metropolitan Opera since 2005, where he has staged Hänsel und Gretel. Also at the Metropolitan Opera, he has collaborated on two world premieres, Tobias Picker’s An American Tragedy and Tan Dun’s The First Emperor; numerous new productions that include The Nose, From the House of the Dead, Giulio Cesare, Anna Bolena, Manon, Adams’ Nixon in China, Glass’ Satyagraha; and several operas in the house’s standing repertoire. He has also joined Santa Fe Opera directing for the Resident Artist scenes program as well as for the company’s recent production of Arabella.
He is the Founding Artistic Director of On Site Opera, a company devoted to presenting site specific performances now in its third season. For it’s inaugural season, he directed Shostakovich’s cartoon opera, The Silly Baby Mouse, at the Bronx Zoo. Additionally, he is the former resident stage director for Great Music for a Great City at the City University of New York Graduate Center where he staged additional performances of Brundibár and The Medium. A proponent of Holocaust art, Mr. Einhorn has directed several pieces on the subject including Adam Silverman’s Korczak’s Orphans (co-director of the world premiere staging) with Real Time Opera, a reading of Jo Ellen Hubert’s While Childhood Slept with the Holmdel Theatre Company, and Der Kaiser von Atlantis at Oberlin College. In addition, he has served as resident stage director for the Music at Hillwood concert series at the Tilles Center of Long Island University.
Mr. Einhorn is past winner of the National Opera Association’s scholarly paper competition and is a frequent contributor of book reviews to the NOA’s Opera Journal. He has recently joined the adjunct music faculty of Ramapo College of New Jersey. He holds a Bachelor of Music degree in Opera Directing & Voice Performance from the Oberlin Conservatory of Music.