Stage director Kristine McIntyre has directed more than 100 operas across the U.S.
with a focus on new, contemporary, and American works. Productions include Jake Heggie and Gene Scheer’s Moby Dick (Utah Opera, Pittsburgh Opera, Chicago Opera
Theater, Opera San Jose); Dead Man Walking (Lyric Opera of Kansas City, Des Moines
Metro Opera, Madison Opera); the world premieres of Karchin’s Jane Eyre (Center for Contemporary Opera), Mark Lanz Weiser and Amy Punt’s The Place Where You Started (Art Share, LA) and Celka Ojakanga and Amy Punt’s Mirror Game; new productions of Wozzeck, Billy Budd (regional Emmy award) and Peter Grimes as well as As One, Glory Denied and Soldier Songs (Des Moines Metro Opera, Urban Arias), Dove’s Flight (Pittsburgh Opera, Des Moines Metro Opera, Austin Opera), Heggie’s The End of the Affair (Lyric Opera of Kansas City) and Three Decembers (Des Moines Metro Opera); Florencia en el Amazonas (Madison Opera), Elmer Gantry (Tulsa Opera), Of Mice and Men (Utah Opera, Austin Opera, Tulsa Opera), the world premiere of Mechem’s John Brown(Lyric Opera of Kansas City); new productions ofStreet Scene, The Tender Land (Michigan Opera Theater), Horovitz’s Gentleman’s Island (Utah Opera) and Lee Hoiby’s Bon Appétit; and updated English-language version of Poulenc’s The Human Voice (Utah Opera, Des Moines Metro Opera), a staged concert version of Vanessa (Toledo Opera) and the world premiere of The Canticle of the Black Madonna (Newmark Theater, Portland).
Kristine recently returned to Des Moines Metro Opera to stage the world premiere of Kuster/Puts’ A Thousand Acres. Also in the 2022-2023 season, she creates a newly imagined production of The Magic Flute at Jacksonville Symphony, helms Rusalka at Pittsburgh Opera, returns to The Atlanta Opera for Don Giovanni, and returns to Madison Opera for their double-bill of Trouble in Tahiti/The Seven Deadly Sins. Highlights of the 2021-2022 season included Hometown to the World at Santa Fe Opera, revivals of her production of Flight at Utah Opera and Dallas Opera, a new production of Sweeney Todd for Des Moines Metro Opera (where she was recently appointed Artistic Consultant), the world premiere of Mark Lanz Weiser and Amy Punt’s Galaxies in Her Eyes – the first opera ever written specifically for a planetarium – and UNKnown, the cinematic premiere of a dramatic song cycle by Shawn Okpebholo and Marcus Amaker, commissioned by UrbanArias.
Other recent directing credits include a film-noir style Don Giovanni (Utah Opera, Palm Beach Opera, Lyric Opera of Kansas City, Kentucky Opera, Pittsburgh Opera); an Emmy-award winning production of Manon (Des Moines Metro Opera, Opera Santa Barbara); Semele, Otello, La Cenerentola, Tosca, Le nozze di Figaro, Il ritorno d’Ulisse in Patria and La clemenza di Tito (Pittsburgh Opera); The Pearl Fishers (Utah Opera); Jenůfa, Eugene Onegin and La bohème (Des Moines Metro Opera); Lucia di LammermoorandMadama Butterfly(Arizona Opera);Cosìfan tutte,Norma,andThe Turn of the Screw(Lyric Opera of Kansas City); Il ritorno d’Ulisse, Lucia di Lammermoor and La traviata (Portland Opera); The Tales of Hoffmann, Un Ballo in Maschera, Cavalleria Rusticana/I Pagliacci and Così fan tutte (Madison Opera); Verdi’s Un giorno di regno (Wolf Trap Opera); La bohème (New Orleans Opera); Don Giovanni, Madama Butterfly, Cavalleria Rusticana/I Pagliacci, Carmen and Werther (Kentucky Opera); Don Giovanni and Rigoletto (Tulsa Opera); Hansel and Gretel (Skylight Opera Theatre); Lucia di Lammermoor (Anchorage Opera); Tancredi (Opera Boston); La rondine (Oberlin in Italy); Béatrice et Bénédict and Viva la Mamma (Tacoma Opera), and Die Fledermaus, A Little Night Music, Nicolai’s The Merry Wives of Windsor, and seven Gilbert and Sullivan operettas for Mock’s Crest in Portland.
Kristine began her career at San Francisco Opera and then spent eight years on the staff of the Metropolitan Opera where she directed revivals of La traviata, Il barbiere di Siviglia, and Luisa Miller, and directed La traviata on tour in Japan and for HD broadcast as part of the Renée Fleming gala. She has trained opera singers in the studio programs at the Santa Fe Opera, San Francisco Opera, Portland Opera, and Pittsburgh Opera and has written and directed operatic adaptations for Portland Opera To Go, which reached over 100,000 people. Her recent bilingual adaptation of The Barber of Seville was produced to great acclaim at Atlanta Opera, Portland Opera, Fort Worth Opera, Houston Grand Opera/HGO CO and Chautauqua Opera.
