General Management
Carlos Wagner was born and brought up in Caracas, Venezuela. He studied acting at the Guildhall School of Music and Drama in London, graduating with a diploma.
Most recent projects include Handel’s Lotario for the Internationale Händel-Festspiele Göttingen and Theater Bern, Siegfried at Ópera de Oviedo, Angels in Amerika (Peter Eötvös) for Theater Münster, Julie & Jean for Neue Oper Wien, revivals of Carmen in Bonn and Oviedo and of Donizetti’s Le Duc d’Albe at Vlaamse Opera, Il Trovatore at the Alden Biesen Summer Opera Festival, Lohengrin at the National Korean Opera in Seoul, Offenbach’s Geneviève de Brabant at the Opéra de Montpellier and the Opéra national de Lorraine, Der Freischütz at Theater Münster as well as, Powder her Face by Thomas Adés for the Teatro Arriaga in Bilbao, Puccini’s Madama Butterfly for Stadttheater Klagenfurt, Verdi’s Il Due Foscari for the Festspiele St Gallen,  Massenet’s Werther for the Aalto-Theater Essen, Wagner’s Lohengrin for the theatres in Rennes and Rouen, Giorgio Battistelli’s Il Medico dei pazzi for the Opéra national de Lorraine and Verdi’s Macbeth, as well as Wagner’s Der fliegende Holländer for Theater Kiel.

Other past engagements include Powder her face for the Royal Opera House Covent Garden, Britten’s Curlew River and The Prodigal Son for the OsterKlang-Festival in Vienna, Le duc d'Albe for De Vlaamse Opera and for Ópera de Oviedo, Berlioz’ La damnation de Faust for Theater St. Gallen, Schönberg’s Die glückliche Hand for Oper Leipzig, Un Ballo in Maschera for the Opéra national de Bordeaux, Britten’s The Rape of Lucretia for De Vlaamse Opera, Verdi’s Luisa Miller for Deutsche Oper am Rhein, Philip Glass’ The Fall of the House of Usher for Staatstheater am Gärtnerplatz in Munich, Bizet’s Carmen for Opéra-Théâtre de Metz, Opéra national de Lorraine and Deutsche Oper am Rhein, Offenbach’s La Vie parisienne and Zemlinksy’s Eine Florentinische Tragödie for the Opéra national de Lorraine, Mozart’s Don Giovanni for Staatstheater Wiesbaden, Stravinsky’s The Rake's Progress for Angers Nantes Opéra, The Lighthouse, Ligeti’s Le Grand Macabre and Tan Dun’s Tea a Mirror of Soul for Neue Oper Wien, for which he also presented a re-working of Monteverdi's Orfeo by Christoph Cech. He has directed the world premieres of Juana, by E. Palomar, for Theater Halle and Gran Teatre del Liceu Barcelona as part of the Festival de Butxaca, and Phantom Palace by Hilda Paredes for the Festival of Arts and Ideas Connecticut and Musik der Jahrhunderte Stuttgart. Carlos Wagner was also commissioned to devise and direct Had I a Song, a retrospective on the life of Ivor Gurney for Muziektheater Transparant Antwerp and Orpheus Frequency and Syrinx for ENO Studio London.
Highlights for 2019-2020 include Puccini´s Il trittico at the Tiroler Landestheater Innsbruck, Cecilia Valdés at the Teatro de la Zarzuela in Madrid, Britten´s Death in Venice at Theater Münster and Götterdämmerung at Ópera de Oviedo.
Alban BergWozzeckMasterclass, Berlin with Ruth Berghaus
Alessandro ScarlattiGli Equivoci nel SembianteMusica nel Chiostro, Batignano
Alexander ZemlinskyEine Florentinische TragödieOpéra National de Lorraine, Nancy
Anoine MariotteSaloméOpéra de Montpellier
Arnold SchönbergDie Glückliche HandOper Leipzig
Arthur SchnitzlerLa RondeRADA, London
Benjamin Brittenthe Rape of Lucretiade Vlaamse Opera, Antwerpen
Benjamin BrittenThe Rape of Lucretiade Vlaamse Opera, Antwerpen
Boudewijn BuckinxLe Vere Valkiriede Singel, Antwerpen
C. Chech & C. MonteverdiOrfeoNeue Oper Wien
Claude DebussySyrinxEnglish National Opera Studio
E.W. KorngoldBetween Two WorldsMuziektheater Transparant, Antwerp
Enric PalomarJuanaOper Halle
Enric PalomarLa Cabeza del BautistaEl Gran Teatre del Liceu, Barcelona
G. Guix & J.SanouGenesi 3.0Teatre Romea, Barcelona
Giacomo PucciniLa BohèmeZomeropera Alden Biesen
Giacomo PucciniToscaNationale Reisopera, Netherlands
Giuseppe VerdiUn Ballo in MascheraOpéra National de Bordeaux
Hilda ParedesThe Phantom PalaceFestival of Arts and Ideas, New Haven
Igor StravinskyThe Rake's ProgressAngers Nantes Opéra
Ivor Gurney Had I a SongCovent Garden Festival, London
M.F. CaballeroLos Sobrinos del Capitán GrantOpéra National de Lorraine, Nancy
P. Mascagni & R. LeoncavalloCavalleria Rusticana/PagliacciSurrey Oper, London
Peter Maxwell DaviesThe LighthouseNeue Oper Wien
Richard StraussSaloméKorea National Opera, Seoul
Richard StraussSaloméOpéra de Montpellier
several composersOrfeus FrequencyEnglish National Opera Studio
Tan DunTeaNeue Oper Wien
Tom AdèsPowder her Facethe Royal Opera, London
Tom AdèsPowder her Facede Vlaamse Opera, Antwerpen
W. A. MozartDon GiovanniHessisches Staatstheater, Wiesbaden
William WaltonThe BearBuxton Festival
Carlos Wagner baut mit seiner stimmigen Inszenierung, der klugen Lichtführung (Guido Petzold) und der Konzentration auf nur einen Raum eine Spannung auf, die sich nach drei Stunden in einem begeisterten Schlussapplaus entlädt.
Berner Zeitung, Theater Bern - Lotario, March 2019
"Dabei leisten Inszenierung und Dirigat in Göttingen das Beste, um dramaturgische Geschlossenheit zu suggerieren. Der Regisseur Carlos Wagner hält alle Figuren beständig in schlüssig motivierten Handlungen."
NZZ, Handelfestival Goettingen - Lotario, May 2017
"[...] bei dieser Neuproduktion der Oper „Lotario“ war noch etwas anders bemerkenswert und sogar für die Rezeption von Barockopern wegweisend, nämlich die Art wie der Regisseur Carlos Wagner die langen Da-capo-Arien und plappernden Rezitative inszenierte, in denen merkwürdige Intrigen und Gefühlsaufwallungen verhandelt werden. Damit ist das Ermüdende gemeint, dass die vielstündigen Opern von Händel, Hasse und Co. sonst befrachtet. Carlos Wagner übersetzte die Musik und den Text, also die psychologische Verfassung der Protagonisten, in eine bestimmte Art von Körperlichkeit; er kreierte lebendige Skulpturen, die man sich fasziniert einfach anschauen konnte[...] Man erlebt ein reines Bewegungstheater[...] das von der Musik wie durch magnetische Kräfte angetrieben wird.", Handelfestival Goettingen - Lotario, May 2017
„Es ist eine ausgestellte und opulente Dekonstruktion des großformatigen Handlungsrahmens. [...] Damit bezieht auch das perfekt durchinszenierte Kammerspiel, das sich zwischen den Akteuren entspinnt, seine Spannung aus der zeitlichen Unbestimmtheit des Exemplarischen.[...] Im Laufe des Abends gelingen packende Porträts der Protagonisten, ganz gleich ob sie bei ihrem Grundcharakter bleiben oder auch eine Entwicklung durchmachen[...].“, Handelfestival Goettingen - Lotario, May 2017

"It's Carlos Wagner himself who signed the bewildering production. Drawing force, mystery, lyricism, in short the richness from the texts of Valle Inclán - that he stays totally faithful to - this confirms that he is of rising importance amongst the directors of his generation. The action on stage - sex and violence - even if they sometimes overstep the context of conventional theatre of the beginning of the 20th century of the works creation, find their place exactly in our times.
The single set is spacious, created by Alfons Flores, filled with billiard tables, which already figure in Valle Incláns play. The billiard game echoes the dramatic situation: Pepona (the red ball) is tossed between the two leading men (the two white balls), in an uncertain and macabre carambole.", La Cabeza del Bautista at Gran Teatre del Liceu, April 2009

Drama on the square millimetre

"With "The Rape of Lucretia" the Flemish Opera have invited a precious gem into their house--- the Venezuelan director Carlos Wagner makes the chorus spend large part of the evening blindfolded and tied up. They comment but cannot interfere. At the end of the performance they are freed, but blindfold and tie themselves up voluntarily. The standpoint of the director about the somewhat sickly sweet religious ending --- Wagner directed this show eight years ago at the Opera Studio in Ghent. The images he created are as simple and to the point as Britten's music."

De Standaard, about The Rape of Lucretia at de Vlaamse Opera, November 2008

"Carlos Wagner's outstanding production plays outrageously on our voyeuristic self-righteousness in matters of morality. The judge's summing up at the Duchess's humiliating divorce trial is delivered in a mounting frenzy of sexual excitement, in turn shared by those in the public gallery armed with flasks of tea and binoculars. --- The look of the show is fantastic. A steep white staircase fans out from a single doorway. The action is entirely, and precariously, played out on these steps, suggesting the Duchess's imminent tumble from grace and favour. Outsize reproductions of her cosmetics are strewn about like Pop Art sculptures. And in the key moment of that fellatio, a naked Adonis emerges from between the legs of her "headless man" as if to highlight the distinction between sexual fantasy and base reality.
The best of Powder Her Face comes in the final scene where Joan Rodgers' riveting Duchess clings in vain to her pride while Adès attempts to imbue her with an almost Straussian dignity. There's a wicked reference to Der Rosenkavalier as a society journalist presents her with a silver rose. Is this the mad scene the Marschallin never had?"

The Indipendent, about Powder her Face at the Royal Opera CG, June 2008

"If the arias are in Spanish, the dialogues have been humorously rewritten in French --- the lewd double entendres, played with the irresistible accent that reminds us of the beautiful epoch of the TSE of Alfredo Arias. Second happy initiative: the action is transferred to the crazy nights of the movida in Madrid. Thanks to the generosity of the Opera National de Lorraine, Patrick Dutertre launches himself into a delirium à la Almodóvar, creating not less than 250 costumes of whimsical extravagance. Between "Tintin and the Picaros" and the Marx Brothers, the astonishing chase for the treasure is treated like a prank by Carlos Wagner, who imbues his cascade of gags with a hellish rhythm. The single set - a square with buildings on the skew - is diversified by the suggestive lighting of Marie Nicolas and the ingenious use of props: the ship becomes a bathtub on wheels manoeuvred by a shipmate; the condor is a giant crane, the crocodile a green rubbish-bin with jaws! However, when required, the comical becomes poetic. As in the ballet at the bottom of the sea, yellow diving suits float amidst soap-bubbles--- It's a party for all!"

Opéra magazine , about Los Sobrinos del Capitán Grant, January 2008

Carlos Wagner

Bio English

Carlos Wagner

PR photo 30

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