British-Swiss director Max Hoehn was a recent nominee for Best Young Director at the 2016 International Opera Awards and the first recipient of the Independent
Opera at Sadler's Wells Director Fellowship (the UK's first opera-directing competition). He has worked at Glyndebourne, Opernhaus Zürich, Oper Frankfurt, Grand Théâtre de Genève, Welsh National Opera, Theater an der Wien, Scottish Opera, Birmingham Opera Company, Grange Park, Lisbon's Teatro Nacional de São Carlos and with the Mariinsky Theatre on Tour. Plans include Cosi Fan Tutte, The Consul (Welsh National Opera) and La Cenerentola (Stadttheater Bremerhaven).
His productions as director include Biedermann and the Arsonists (Independent Opera at Sadler's Wells, UK Premiere), Rodelinda (Cambridge Handel Opera Company) Stephen Oliver's The Waiter's Revenge (Birmingham Opera Company), Il Matrimonio Segreto (UK Tour), a concert staging of Prokofiev's The Fiery Angel (Scottish Opera) and a promenade version of Hansel and Gretel performed for children in the woods (Iford Festival Education Project). As part of Scottish Opera's 2017/18 Sunday Series he staged From Russia with Love, a compilation of Russian operatic scenes performed by National Opera Studio Young Artists. His short film, Violetta's Ghosts, based on La Traviata, was released on the Opera Vision website earlier this year. In summer 2017 he launched a new group Opera Lab Europe (OLÉ) with 3 a cappella operas by Judith Weir, Stephen Oliver and Zad Moultaka performed at Lisbon's LX Factory.
Max works regularly with Young Artist Programmes and music colleges. Over the past year he has directed scenes with Royal College of Music students in London and the National Opera Studio's 2017 showcase at Scottish Opera.
In addition to directing, Max writes librettos and translations. In 2014 he wrote a new English version of Mussorgsky's Khovanshchina for Graham Vick's epic Birmingham Opera Company production. Entitled Khovanskygate: a National Enquiry, the production featured the City of Birmingham Symphony Orchestra and a volunteer chorus of over 120 people performing in a circus tent. The adaptation drew on the contemporary political language of election campaigns. Following this first venture into translating, Max took part in Aldeburgh Music's Jerwood Opera Writing Programme as librettist and director, collaborating on a series of five-ten minute mini-operas. He has just completed a new English translation of Viktor Ullmann's Der Kaiser von Atlantis for Polly Graham's new company, Loud Crowd, which will be performed in the Multi-Story Car Park in Peckham.
He is a member of Kasper Holten's Talent Discovery Programme on Truelinked.
Max's work has been supported by Arts Council England, the British Council's Artist International Development Fund, the Swiss Cultural Fund of Great Britain, William and Judith Bollinger, the Opera Awards Foundation Bursary, the Kobler Trust, the Tilett Trust, the Spoli Fund at the Jewish Music Institute, the Arab British Cultural Centre, Sir Alan Cox and Lady Ros Shelley and the Russky Mir Foundation.
Contact Max at email@example.com
(Photograph: Max Lacome, www.maxlacome.com)