Curriculum Vitae


Free-Lance Stage Director

USA: New York City Opera, San Francisco Opera, Los Angeles Opera, Houston Grand Opera, Seattle Opera, Dallas Opera, Opera Theater of St. Louis, Opera Company of Philadelphia, Glimmerglass Opera, Boston Lyric Opera, Opera Boston, Opera Pacific, Cincinnati Opera, Chicago Opera Theater, Minnesota Opera, Portland Opera, Austin Lyric Opera, Baltimore Opera, Virginia Opera, Tulsa Opera, Opera Omaha, Lyric Opera Kansas City, Opera Columbus, Utah Opera, Sarasota Opera, Long Beach Opera, Opera Delaware, Providence Opera Theater, Mobile Opera, Opera Theater of Rochester, Syracuse Opera, Indianapolis Opera, Toledo Opera

International: Canadian Opera Company, Victoria State Opera (Melbourne), National Theater of Prague, Opera Ireland, Stadttheater Giessen, Theater Erfurt, Stadttheater Bern, Tirolerlandestheater (Innsbruck), International Kurt Weill Festival/ Anhaltisches Theater Dessau, Vancouver Opera, Edmonton Opera, Banff Center for the Arts, Nouvelle Ensemble Moderne (Montreal)

Young Artist: Metropolitan Opera, Washington National Opera, San Francisco Opera Merola Program, Indiana University, Wolf Trap Opera, Academy of Vocal Arts, Eastman School of Music, New England Conservatory of Music, Cincinnati College-Conservatory of Music, Music Academy of the West, Yale School of Music, Manhattan School of Music, Atlantic Music Festival, University of California at Humboldt, Miami University of Ohio, Vianden Festival (Luxembourg)

President and CEO, LEXICA Productions, Inc.
This production company supports a range of activities, such as arts management, stage direction, surtitle rentals, scenic, lighting and video design. Future plans include the establishment of The Lexica Foundation, which will focus on providing grant support for innovative uses of technology in opera production.

Artistic Consultant, Cincinnati Opera
The main focus of this job was achieving a seamless transition to new leadership.

Artistic Director, Cincinnati Opera
A top executive position, reporting directly to the Board of Directors. Mandates were numerous: To expand the repertoire; to attain a national and international company profile; to bring a more contemporary and high-quality visual aesthetic to the presentations; to focus on diversity in all aspects of the operation; to forge more partnerships with artistic organizations, especially locally and especially with the University of Cincinnati College-Conservatory of Music (CCM). In short, a transformation of the company.

Key Accomplishments:

  • Increase in the company annual budget from $2.6m to $6.2m, with commensurate increase in sustainable private and corporate philanthropy. Each year ended in fiscal balance: no deficits or accumulated debt.
  • Optimization: a $1million retro-fit of the theater, the planning, funding and execution for which was achieved within nine months.
  • Company premieres: Brundibár, Different Fields, Jenůfa The Turn of the Screw, Pelléas et Mélisande, Bluebeard, Erwartung, Nabucco, Dead Man Walking, Elektra, La Voix Humaine, Die Sieben Todsünden, the world stage premiere of Medusa, the north American premiere of The Maids, Der Kaiser von Atlantis, and the world premiere of Margaret Garner.
  • New Productions: Brundibár, Different Fields, Don Giovanni, Faust, The Turn of the Screw, Salome, Nabucco, Elektra, La Voix Humaine/Die Sieben Todsünden/Medusa, Der Kaiser von Atlantis/The Maids.
  • Co-Commission: Margaret Garner (Detroit and Philadelphia)
  • Co-productions: Margaret Garner (Detroit and Philadelphia), Pelléas et Mélisande (Canadian Opera), Carmen (Seattle, Pittsburgh, Denver, Florida), Dead Man Walking (Opera Pacific, Pittsburgh, NYCO, Detroit, Austin, Baltimore)
  • The development of a long range plan, culminating in The Festival Campaign, a $12m blended capital/endowment drive to support future excellence. Special aspects of the long-range plan were the $4 million renovation of the north wing of Music Hall into state-of-the-art offices and the commissioning of a world premiere, Margaret Garner, presented during the 2005 festival.
  • Reviewed and/or featured in national/ international publications: Wall Street Journal, Madrid Scherzo, London Opera, Opera Now, Opernwelt, Opera Canada, Opera News, Musical Quarterly, Gramophone and American Record Guide.
  • Reviewed and/or featured in Local/Regional publications: Cincinnati Magazine, Cincinnati Enquirer, Cincinnati Post, City Beat, Oakwood Register, Louisville Courier-Journal, Columbus Dispatch, Indianapolis Star and Pittsburgh Gazette.
  • Creation of an interactive scheduling and budgeting system.
  • Re-structuring of Production Staffing and operational systems
  • Revival of the Cincinnati Opera Young Artist Program
  • Laid the ground work for what has evolved into OperaFusion, a formalized collaboration with CCM
  • Visual/stylistic re-branding

Artistic Director, Tulsa Opera

A top executive position, reporting directly to the Board of Directors. Mandates were to raise the national profile of the company and to introduce a more contemporary and vital visual aesthetic.

Key Accomplishments:

  • Increase in Company Annual Budget from $1.7 to $2.1m, with commensurate increase in sustainable private and corporate philanthropy. Each year ended in fiscal balance: no deficits or accumulated debt.
  • U.S. premieres: Le Trouvère, Armida (Rossini)
  • National Public Radio “World of Opera” Broadcasts: Le Trouvère, Armida (Rossini)
  • Company premieres: The Juniper Tree (Glass/Moran), La Cenerentola, Le Trouvère, HMS Pinafore, Armida, La Fanciulla del West, Fidelio.
  • New Productions: The Juniper Tree (Glass/Moran), La Traviata, Carmen, Fidelio, Il Barbiere di Siviglia
  • Co-Productions: Le Trouvère (Seattle Opera), Armida (Minnesota Opera)
  • Production of La Traviata was purchased and presented by New York City Opera
  • Development and execution of The Spanish Trilogy, a production of three operas (Carmen, Fidelio, Il Barbiere di Siviglia) using a unified scenic, dramaturgical and casting concept.
  • Created a Young Artist Program and Educational Outreach Ensemble.

Principal Stage Director & Artistic Advisor, Kentucky Opera

Directed two productions per year, most of them new productions, and assisted in casting, strategic planning and budgeting activities.


  • 2011: National Opera Association Award: 2nd Place (Cendrillon–Miami University Opera)
  • 2010: National Opera Association Award: 1st Place (Of Mice and Men–CCM)
  • 2009: National Opera Association Award: 3rd Place (Postcard from Morocco–CCM) 
  • 2008: DORA Awards, Toronto: Nomination for Best Opera Production (Pelléas et Mélisande)
  • 2007: DORA Awards, Toronto: Nomination for Best Opera Production (Faust)
  • 2007: National Opera Association Award: 1st Place (Une Éducation Manquée/ Le Pauvre Matelot–CCM)
  • 2006: DORA Awards, Toronto: Nomination for Best Opera Production (Macbeth)
  • 2006: National Opera Association Award:  1st Place (Albert Herring–CCM)
  • 2003: DORA Awards, Toronto: Winner, Best Opera Production (Jenůfa)
  • 2003: Cincinnati Post-Corbett Award for Individual Artist of the Year
  • 2002: National Opera Association Award: 1st Place (The Crucible–CCM)
  • 1994: Australia, The Age Award Best Opera Production of the Year (Il Trovatore–Victoria State Opera)


  • 2013-Present: Professor of Opera, The Academy of Vocal Arts, Philadelphia
  • 2013-Present: Professor of Opera Workshop, The Bard Conservatory of Music
  • 2010-2013: Promotion to Full Professor and Re-Appointment as Distinguished Artist-in-Residence, CCM
  • 2006-2010: Distinguished Artist-in-Residence & Associate Professor of Opera, CCM
  • 2001-2005: Guest Instructor and Stage Director, CCM
  • 2005-Present: Guest Instructor/Master Classes, Indiana University
  • 1988-1990: Drama Director, Metropolitan Opera Young Artist Program


  • 2013: Owen Wingrave, A Study Guide
  • 2012: Acting in Opera: A Contemporary Guide for the Inquisitive Young Artist
  • 2011: Don Giovanni, A Study Guide
  • 2010: Giulio Cesare in Egitto, A Study Guide
  • 2010: Cardillac, A Study Guide
  • 2008: The Love for Three Oranges, A Study Guide
  • 2007: Das Liebesverbot, A Study Guide
  • 2006: The Opera Box
  • 2006: Werther, A Study Guide
  • 2005: Macbeth, A Study Guide
  • 2005: Showboat, A Comparative Guide
  • 2005: What is a summer opera festival…really?   (London OPERA Magazine)
  • 2000: Auditioning, a matter of choice(s)    (Opera America Newsline)


  • 2012: La Finta Giardiniera
  • 2012: Trial by Jury
  • 2011: Giulio Cesare in Egitto
  • 2011: El Amor Brujo
  • 2010: Cendrillon
  • 2009: Carmen
  • 2009: Ariadne auf Naxos
  • 2008: Le Nozze di Figaro
  • 2008: Das Liebesverbot
  • 2008: L’incoronazione di Poppea
  • 2007: Cosí fan tutte
  • 2007: Werther
  • 2006: Faust
  • 2005: Show Boat
  • 1995: Wozzeck


  • 2012: Trial by Jury
  • 2010: Cendrillon
  • 2009: Ariadne auf Naxos
  • 2008: The Love for Three Oranges
  • 2007: Cosí fan tutte
  • 2004: Der Kaiser von Atlantis
  • 2004: The Maids
  • 1993: Iphigénie en Tauride
  • 1990: Ariadne auf Naxos
  • 1988: Stiffelio (co-author with David Lawton)
  • 1987: Don Giovanni
  • 1985: Die Zauberflöte (co-author with Stefan Kozinski)


  • B.M. Oberlin Conservatory of Music,
    Concentrations: Voice Performance (major), Conducting (minor)
  • National Institute of Music Theater Fellowship in Stage Directing
  • Goethe Institute Diploma (Bremen, Germany)
  • Stage Directing Internship with Jean-Pierre Ponnelle


15 years as an Administrator (Artistic Director, Cincinnati Opera and Tulsa Opera)

  • Visioning & Strategic Planning
  • Fundraising and Donor Cultivation
  • Budgeting Formulation and Monitoring
  • Repertoire Planning and Casting Director
  • Union negotiations (AGMA, IATSE, AFM)
  • Commissioning new work (Margaret Garner)
  • National Public Radio Broadcasts: Armida, Le Trouvère
  • A principal in large-scale project development and execution: Optimization ($1m budget); Cincinnati Opera New Office space ($4m budget)
  • A principal in Capital Campaign development and implementation: Cincinnati Opera Festival Campaign ($12 million)
  • Creation of two Young Artist Programs (Cincinnati Opera and Tulsa Opera)
  • Several Production Consortiums (Dead Man Walking, Carmen, Margaret Garner); Tulsa Opera: Spanish Trilogy (Carmen, Fidelio, Barbiere)
  • Grant writing
  • Public Relations & Marketing: Design and Copy writing
  • Extensive experience as a public speaker in PR events, lectures, presentations.

30+ years as a Stage Director

  • 200+ original productions in the US, Canada, Europe and Australia
  • World Premieres: Frankenstein, Towers of the Moon, Jackie O, La Conquista, Medusa
  • U.S. Premieres: Le Trouvère; Armida; I Puritani (Naples version); The Maids; Das Liebesverbot
  • Dramaturgy: Frankenstein, Margaret Garner; Jackie O; Triple Bill: La Voix humaine/Die Sieben Todsünden/Medusa; Double Bill: The Emperor of Atlantis/The Maids, La Conquista, El Amor Brujo, Triple Bill: Trial by Jury/The Face on the Bar Room Floor/Trouble in Tahiti
  • Adaptations: La Finta Giardiniera, Das Liebesverbot, The Sorrows of the Young…Werther (Based on Massenet’s opera of the same title); The School for Lovers, a.k.a. Cosí fan tutte (based on Mozart’s opera); L’incoronazione di Poppea; Ariadne auf Naxos; Carmen, Cendrillon, Giulio Cesare in Egitto, El Amor Brujo, Le Nozze di Figaro, Faust, Show Boat and Wozzeck
  • Production Design: Don Giovanni; Faust; Beyond Innocence (ballet); Out-o-Sense (ballet); Dido and Aeneas; The Rape of Lucretia; The Magic Flute; The School for Lovers, a.k.a. Cosi fan tutte; L’incoronazione di Poppea; Ariadne auf Naxos, Suor Angelica/Gianni Schicchi, Cendrillon, Trial by Jury/The Face on the Bar Room Floor/Trouble in Tahiti, La Finta Giardiniera, Postcard from Morocco
  • Directing Video for use in opera: Frankenstein, The Modern Prometheus; The Seven Deadly Sins; The Emperor of Atlantis; The Maids; Werther; Faust; La Bohème; Armida

Related Experience/Skills

  • NEA On-Site evaluator and grant panelist
  • Contacts in the professional opera world: US, Canada and Europe
  • Visiting Clinician at Universities and Young Artist Programs
  • Fluency in German, moderate fluency in Italian, reading ability in French
  • Extensive training as a singer
  • Training in Conducting
  • Extensive Musical, Diction and Dramatic Coaching experience
  • Scenic, Costume, Lighting, Video Design Experience
  • Fluency in numerous computer programs, both MAC and PC: Excel, PowerPoint, Entourage; Proficiency in Final Cut Pro, PhotoShopCS2, VectorWorks, iLife Suite
  • Videography, editing and digital output
  • Author of 40+ Projected English Translation scripts [Surtitles]
  • Author of 11 English (singing) translations of opera
  • Feature articles (both as author and subject of) in numerous trade publications


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