Yuval Sharon

Artistic Director, The Industry

(c) John D. & Catherine T. MacArthur Foundation


Described by The New York Times as “opera’s disrupter in residence,” director Yuval Sharon has been creating an unconventional body of work that seeks to expand the operatic form.

He founded and serves as Artistic Director of The Industry in Los Angeles, an acclaimed company devoted to new and experimental opera that has brought opera into moving vehicles, operating train stations, and various “non-spaces” such as warehouses, parking lots, and escalator corridors. Sharon conceived, directed, and produced the company’s acclaimed world premieres of Hopscotch, Invisible Cities, and Crescent City. He also devised and directed the company’s two “performance installations”: In C at the Hammer Museum and Nimbus at Walt Disney Concert Hall.

His stage productions in more conventional spaces have been described as “ingenious” (New York Times), “virtuosic” (Opernwelt), “dizzyingly spectacular” (New York Magazine), and “staggering” (Opera News). He is the recipient of the 2014 Götz Friedrich Prize in Germany for his production of John Adams’ Doctor Atomic, originally produced at the Staatstheater Karlsruhe and later presented in Seville’s Teatro de la Maestranza. Sharon also directed a landmark production of John Cage’s Song Books at the San Francisco Symphony and Carnegie Hall with Joan La Barbara, Meredith Monk, and Jessye Norman. His most recent production was Peter Eötvös’s Three Sisters at the Wiener Staatsoper, which lead Opernwelt to call him “one of the most interesting arrivals on the musical landscape.” His production of Cunning Little Vixen, originally produced at the Cleveland Orchestra, will be the first fully-staged opera ever presented in Vienna’s historic Musikverein in October 2017.

Sharon currently has a three-year residency at the Los Angeles Philharmonic, where his projects will include newly commissioned works, site-specific installations, and performances outside the hall. Major upcoming productions include an original setting of War of the Worlds, performed both inside and outside the concert hall simultaneously (Fall 2017); a staging of Mahler’s Das Lied von der Erde with Gustavo Dudamel at the LA Phil (Spring 2018); Lohengrin for the Bayreuth Festival (Summer 2018), and Magic Flute for the Berlin Staatsoper Unter den Linden (February 2019).

Sharon was honored with a 2017 MacArthur Fellowship and a Foundation for Contemporary Art grant for theater. He serves on the board of Opera America, the Artist Council for the Hammer Museum,


Performance Schedule

  • More info  
    12 Sep 18 Review: Lost Highway Olga Neuwirth
    Bockenheimer Depot, Frankfurt

    “Die Künstlichkeit jener futuristisch angehauchten Welt mit ihren doppelten Böden und zeitlichen Loopings, die per Mausklick in jede beliebige Richtung manipulierbar ist, vermittelt ein Gefühl von Verunsicherung und Bedrohung, das sich im Verlauf der technisch brillant realisierten Inszenierung immer mehr steigert.”

    Silvia Adler, Allgemeine Zeitung

    “…so engrossing, so provocative in all the right ways…”… “Sharon and team were in sync with Neuwirth’s risk-taking dramaturgy”… “Sharon’s work with virtual reality in last season’s staging of Mahler’s Das Lied von der Erde for the Los Angeles Philharmonic seemed like a preparatory study for his engagement here with a vocabulary of virtual reality projections fused with live performance. The achievement in Lost Highway was not only technically superb but astonishingly effective as theatre”

    Thomas May, Musical America, 25 September 2018




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    26 Jul 18 Bayreuth’s First American Director Arrives With ‘Lohengrin’ Bayreuth Festival 2018

    “…opening this year’s festival with a “Lohengrin” that overcomes conceptual troubles with breathtaking visuals and enthralling musicality…”

    David Allen, The New York Times

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    24 May 18 Creativity That Comes From the Heart and Lives in the Memory Yuval Sharon: Constant Motion and Experimentation
    New York Times

    “His version of “Lohengrin” will have costumes and set design by Neo Rauch and Rosa Loy, the married German artists. It reflects Mr. Sharon’s belief that all of the arts are moving toward a collaboration-centered approach.”

    Ted Loos, New York Times

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    13 Nov 17 Review: War of the Worlds LA Phil New Music Group
    Walt Disney Concert Hall

    “The best way to write about “War of the Worlds” is not to write about it, which is why I’ve left the show’s secret weapon to the end, even though it should necessarily always be the first item of operatic business with a new work. It, though, is the greatest surprise of all.”

    Mark Swed, Los Angeles Times, November 2017

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    20 Jul 17 Opera's Disrupter in Residence, Heading to Bayreuth

    “The invitation from Bayreuth, for a collaboration with the artists Neo Rauch and Rosa Loy into which he steps following the withdrawal of Alvis Hermanis, comes at a time when Mr. Sharon can do little wrong.”

    David Allen, New York Times, July 2017

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    16 Nov 15 Opera on Location The Industry

    “Whatever the reaction, “Hopscotch” triumphantly escapes the genteel, fenced-off zone where opera is supposed to reside.”

    Alex Ross, The New Yorker, November 2015