The Barber of Seville – Seattle Opera
“This production is a hoot…..Australian stage director Lindy Hume’s inventive imagination is at the core of it. ….. a zany creation that is incredibly funny, unexpectedly lit and wildly colorful, yet true to the story and never overreaching into farce or slapstick. ..sheer delight”
Philippa Kiraly CityArts’ October 16, 2017
Ruddigore – Opera Queensland
“Hume took a contemporary look at a work that was decidedly dusty and gave it a fresh and pleasing spin. She deserves a bravo!”
Peter Pinne Stage Whispers July 2017
Iphigénie en Tauride, Pinchgut Opera
“….a near perfect production. Director Lindy Hume, working with set designer Tony Assness and lighting designer Matthew Marshall, has created a simple but effective space. On it she moulds her characters (in sculptural and sometimes unwieldy costumes, designed by Alistair Trung) with a rare simplicity to form arresting tableaux. The women's chorus, for example, fans out behind Iphigénie like an extension of her train, or grabs Orestes in a jail-like mesh of arms, gilding the drama with elegant hysteria.
Harriet Cunningham, Sydney Morning Herald, December 4, 2014
“…Lindy Humes' clear, focused attention in gathering the action in various masses to create a stylised portrayal of events as she draws heightened dramatic character portrayal from her earnest cast, allowing the opera's 24 scenes over its four acts to unfold as a cohesive whole. Humes' direction deftly reflects Gluck's blend of sacred and secular music”.
Paul Selar, Bachtrack, December 2014
St Matthew Passion – Opera Queensland
“This St Matthew Passion is given to us in the fullness of what it should be, superb musical drama, superbly realised by Lindy Hume and Opera Queensland”.
Crikey.com.au, March 2013
Rigoletto – New Zealand Opera
“… director Lindy Hume has crafted such a detailed world that the “most unexpected twist” promised by the publicity material is the beauty and density of the world rather than the twists and turns of the plot....... By accentuating modern parallels and clearly highlighting that grandeur is a façade, the pomposity that young people claim make opera appear inaccessible to us is nowhere to be found.”
The Lumiére Reader, May 2012
The Love of the Nightingale – West Australian Opera / Perth International Arts Festival
“Director Lindy Hume, the driving force behind this commission, brought clarity and depth to the plot, ensuring its humanity ultimately shone through. The triumph of Nightingale confirms the Mills-Hume partnership as an unassailable creative force in Australian music drama.”
The Australian, February 2007
Lindy Hume is one of Australia’s leading directors, acknowledged internationally for fresh interpretations of a wide variety of repertoire, and for progressive artistic leadership of a number of Australian arts organisations, most recently Opera Queensland (2012 – 2017), Sydney Festival (2010-2012) and Perth International Arts Festival (2004-2007). She was also the first Artistic Director of West Australian Opera (1992-96), Artistic Director of Victoria State Opera and then OzOpera (1996-2001). Lindy has recently been appointed Artistic Director of 10 Days on the Island, Tasmania from 2019-2021.
This year will see Lindy present her first “10 Days on the Island” Festival in Tasmania, and return both to New Zealand Opera to direct The Barber of Seville, as well as to Seattle Opera to direct Rigoletto and Cenerentola.
As a director, Lindy has created more than 50 major productions across Australasia including Carmen, Don Giovanni, Fledermaus, La Périchole and Les pêcheurs de perles (Opera Australia), Orlando, Trouble in Tahiti and The Barber of Seville (OzOpera), Alcina and Orpheus in the Underworld (West Australian Opera), Carmina Burana (State Opera of South Australia/The Australian Ballet), Idomeneo (Pinchgut Opera), Rigoletto and Lucia di Lammermoor (NBR New Zealand Opera).
European productions include La bohème (Deutsche Staatsoper in Berlin, which was telecast live throughout Europe), Tolomeo (Musiektheater Transparant in Belgium), Radamisto (Handel Festspiele and Opernhaus Halle), A Streetcar Named Desire and Norma (Opera Theatre St Gallen in Switzerland), Così fan tutte (Guildhall School of Music and Drama in London), and Albert Herring and Phaedra (Aldeburgh Festival in the UK). She made her American debut in 2004 directing The Barber of Seville for Houston Grand Opera, returning in 2009 and 2013 to direct Rigoletto and Die Fledermaus respectively. She has also staged Bach’s St Matthew Passion and directed Rossini’s Cinderella in her own English translation for Opera Queensland and Don Pasquale (Oper Leipzig), ABANDON (co-director) and Rigoletto (both for Opera Queensland) and Iphigénie en Tauride (Pinchgut Opera). Her production of “Cenerentola” (this time performed in the original Italian version) was produced by NBR New Zealand Opera in 2015 and presented by Oper Leipzig and in San Diego in 2016. Other recent productions include Rossini’s Comte Ory in Seattle, West Australian Opera’s Gianni Schicchi at Opera in the Park, Snow White and The Barber of Seville for Opera Queensland and Theodora for Pinchgut.
Most recently she has directed Carmen for Opera Leipzig, West Australian Opera and New Zealand Opera, The Barber of Seville in Seattle, Cenerentola for Royal Swedish Opera Stockholm Athalia (Handel) for Pinchgut Opera and, for Opera Queensland Don Giovanni, Ruddigore, Mozart Airborne and A Night With Opera Queensland.
Lindy is recognised as a champion of new Australian work across a range of genres. As Artistic Director of OzOpera, she commissioned the MDTV project, award-winning screen operas with ABC TV, and major Australian works including Paul Grabowsky’s Love in the Age of Therapy and Richard Mills’ Batavia (with Opera Australia and the Melbourne Centenary of Federation Festival). Lindy’s 2001 production of Batavia won the Helpmann and Green Room Awards for Best Director and Best Production. In 2007, she commissioned and directed the world première of Richard Mills/Timberlake Wertenbaker’s opera The Love of the Nightingale, one of several new creations for Perth International Arts Festival within the award-winning Wesfarmers Arts Commissions series.
New Australian work, a focus on contemporary Indigenous culture, the development of a distinctive regional identity and celebration of local communities have been fortes of her tenure as Artistic Director of the Perth International Arts Festival 2004-2007and as Festival Director of the 2010-2012 Sydney Festival, Australia’s largest and most popular annual arts event. Lindy’s 2010 Sydney Festival won 5 Helpmann Awards from 9 nominations including Best New Australian Work for Smoke & Mirrors (Sydney Festival in partnership with Spiegeltent International), Best Major Event (Festival First Night), and Best Classical or Orchestral Concert (Oedipus Rex/Symphony of Psalms). Alongside a focus on Australian innovation and bold international programming, Lindy’s Sydney Festivals have been recognised for their cultural diversity and inclusiveness, featuring programming from the Asia Pacific region and Indigenous Sydney. In 2012, the expansion of the Festival program in Parramatta and Black Capital, a major celebration of Redfern, were important landmarks for the Festival.
Lindy Hume is the recipient of an Australia Council Theatre Board Fellowship and holds a Graduate Diploma in Arts Administration from the University of South Australia. In 2007, she was awarded the Honorary Degree of Doctor of Letters by The University of Western Australia in recognition of her contribution to the cultural life of Western Australia and in 2013 was named one of Australia’s 100 Women of Influence. Lindy was chair of the Board of South East Arts for 6 years until 2014, and maintains her position on the board of Regional Arts NSW. She also served on the Australia Council’s Major Performing Arts Board (2008-2011 and in mid- 2015 joined the board of Festival of Voices in Tasmania. She is also a board member of NORPA.
Lindy Hume is managed by Graham Pushee: email@example.com
This biography is for general information purposes only and not for publication.
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