Stage director Tara Faircloth’s work has been seen in opera houses around the nation. Critics hailed her Nozze di Figaro, claiming, “Faircloth made her Atlanta Opera debut this night with distinction, creating an unstoppable momentum of manipulation and misunderstandings. This production was so fresh that it had the ability to bridge yet another gap, entertaining the amateur and the opera aficionado alike” (Opera News). She directed two world premieres with the Houston Grand Opera's East+West series (The Bricklayer and Her Name Means The Sea) and has a thriving career in regional houses such as Wolf Trap Opera, Utah Opera, Arizona Opera, Tulsa Opera and Atlanta Opera (Il Barbiere di Siviglia, Rigoletto, Die Zauberflöte, Hänsel & Gretel, etc.). The baroque repertoire is of special interest to Ms. Faircloth, who made her directorial debut with Ars Lyrica Houston’s production of Cain: Il primo omicidio in 2003, and has since designed and directed a number of shows for the company, including Charpentier's Actéon and La Descente d’Orphée aux Enfers. She created productions of Dido & Aeneas for Ars Lyrica at the Festival di Musica Barroca in San Miguel de Allende, Mexico, and for Mercury Baroque in collaboration with the Dominic Walsh Dance Theater.
The 2017-18 season finds Ms. Faircloth working on productions new and old: Tosca, Carmen, Agrippina, Gianni Schicchi, Pagliacci, and a mixed media collaboration exploring the life and loves of Clara Schumann entitled Becoming Clara, which premieres in January 2018 with Mercury: The Orchestra. Following last year’s season, which included new productions of Giulio Cesare, Hansel & Gretel and Fidelio (for the Houston Symphony Orchestra) Ms. Faircloth is clearly in demand as an interpreter for familiar works and those that are more obscure.
Ms. Faircloth has worked extensively on directing staff with such companies as Lyric Opera of Chicago, Houston Grand Opera, Central City Opera, and Dallas Opera, and as such, has worked on some of the most complicated operas in the repertoire, assisting international directors and preparing cover casts of some of the best performers in our industry. She is increasingly sought out for her skills as an adapter and has created such pieces as the “Mini” Grapes of Wrath, and the “Mini” Magic Flute, commissions of Opera in the Ozarks and Utah Symphony & Opera. She has a private coaching studio in Houston, Texas, and regularly works with the talented singers in the Houston Grand Opera Studio and Rice University.
Sweeney Todd, Wolf Trap Opera
Hawaii Opera Theatre
Mercury, the Orchestra
Maryland Opera Studio
Christ Church Cathedral, Houston
Ars Lyrica Houston
* designates an original production