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Due to the ongoing effects of closure at the Royal Opera House, information about artists is only updated periodically during this time. We apologise for any inconvenience caused.

Claus Guth



German director Claus Guth made his Royal Opera debut in 2014, directing Die Frau ohne Schatten. He returns in the 2019/20 Season to direct Jenufa.

Guth was born in Frankfurt and studied philosophy, German literature and theatre at the Ludwig-Maximilians University in Munich, and theatre and opera directing at the Munich Hochschule. His international directing career began when he directed Berio’s Cronaca del luogo for the 1999 Salzburg Festival. He has directed many of Richard Wagner’s operas, including Der Ring des Nibelungen (Hamburg State Opera), Der fliegende Holländer (Bayreuth Festival), Tristan und Isolde and Parsifal (Zürich Opera), Lohengrin (La Scala, Milan, Paris Opéra) and Tannhäuser (Vienna State Opera). Other selected credits include La clemenza di Tito (Glyndebourne), Jephtha, Rigoletto and La bohème (Paris Opéra), Orlando, Saul and L’incoronazione di Poppea (Theater an der Wien), Il trittico, Der Rosenkavalier and Pelléas et Mélisande (Frankfurt), Juliette, The Turn of the Screw and Don Giovanni (Berlin State Opera), Salome (Deutsche Oper Berlin), Rodelinda and Lucio Silla (Teatro Real, Madrid) and Mozart’s Da Ponte operas (Salzburg Festival).

Guth has a particular interest in contemporary opera, and has directed world premieres including Chaya Czernowin’s Pnima…Ins Innere for Munich Biennale, Peter Ruzicka’s Celan in Dresden, Michael Jarrell’s Bérénice for Paris Opéra and Helmut Oehring’s Aschemond or The Fairy Queen (with music also by Purcell) and Beat Furrer’s Violetter Schnee for Berlin State Opera. Guth was a finalist in the 2018 International Opera Awards and won Best Opera Production at the South Bank Sky Arts Awards for Die Frau ohne Schatten.

News and features

How to Stage an Opera: Freud and Die Frau ohne Schatten

20 March 2014
How to Stage an Opera: Freud and Die Frau ohne Schatten

How changing attitudes to Freud have shaped the set designs of The Royal Opera's production.