International Chair in Opera Directing
Martin Constantine is the International Chair of Opera Directing at the Royal Welsh College of Music & Drama and MA Opera Directing Course Leader. Martin has directed theatre and opera for the Almeida, Royal Opera House, Bristol Old Vic, Chichester Festival Theatre, English National Opera, Welsh National Opera, Royal Shakespeare Company, Longborough Festival Opera, Hebrides Ensemble, Early Opera Company, Mulheim Festival, Grange Park Opera and Storyhouse Chester. His Welsh National Opera production of Paul Bunyan won an RPS Award and was nominated for a South Bank Sky Arts Award. He is co-Artistic Director of the multi-award winning LIVEARTSHOW – a company making new work with music. The company won an MTN Award for The Future for Beginners. Previous shows Rhinegold and Manga Sister (Time Out Critic’s Choice / Best Theatre of the Year) were the centrepiece of The Yard Theatre’s Peter Brook Empty Space Award winning season.
Martin has developed new work for Royal Opera House, English National Opera, National Theatre, Almeida, Aldeburgh, Bristol Old Vic, Chichester Festival Theatre, Royal Shakespeare Company and Young Vic. He has been Associate Director of new writing company Pentabus Theatre and The Yard, London. He co-adapted Kazuo Ishiguro’s The Unconsoled with Toby Farrow at the National Theatre Studio. He was Director of English National Opera ‘Opera Works’ – an innovative training programme he created for young opera singers. The course trained 200 young singers, directors, designers and producers over a ten-year period at English National Opera.
Martin’s book, The Opera Singer’s Acting Toolkit – An Essential Guide to Creating a Role, draws upon this innovative approach and the work of practitioners such as Stanislavski, Lecoq, Laban and Cicely Berry to create character. The book directly addresses an issue noted by the National Opera Studio in 2017 when they reported that a high level of acting was expected of contemporary opera singers. In this work, Martin provides not only a detailed explication of various tools and application of these to practice, but also an extensive number of interviews which he conducted with leading practitioners on subjects ranging from repertoire to rehearsal strategies.