Yuval Sharon, Artistic Director
Described by The New York Times as “opera’s disrupter in residence,” director Yuval Sharon has been creating an unconventional body of work that seeks to expand the operatic form.
He founded and serves as Artistic Director of The Industry in Los Angeles, an acclaimed company devoted to new and experimental opera that has brought opera into moving vehicles, operating train stations, and various “non-spaces” such as warehouses, parking lots, and escalator corridors. Sharon conceived, directed, and produced the company’s acclaimed world premieres of Hopscotch, Invisible Cities, and Crescent City. He also devised and directed the company’s two “performance installations”: In C at the Hammer Museum and Nimbus at Walt Disney Concert Hall.
His stage productions in more conventional spaces have been described as “ingenious” (New York Times), “virtuosic” (Opernwelt), “dizzyingly spectacular” (New York Magazine), and “staggering” (Opera News). He is the recipient of the 2014 Götz Friedrich Prize in Germany for his production of John Adams’ Doctor Atomic, originally produced at the Staatstheater Karlsruhe and later presented in Seville’s Teatro de la Maestranza. Sharon also directed a landmark production of John Cage’s Song Books at the San Francisco Symphony and Carnegie Hall with Joan La Barbara, Meredith Monk, and Jessye Norman. His most recent production was Peter Eötvös’s Three Sisters at the Wiener Staatsoper, which lead Opernwelt to call him “one of the most interesting arrivals on the musical landscape.” His production of Cunning Little Vixen, originally produced at the Cleveland Orchestra, will be the first fully-staged opera ever presented in Vienna’s historic Musikverein in October 2017.
Sharon currently has a three-year residency at the Los Angeles Philharmonic, where his projects will include newly commissioned works, site-specific installations, and performances outside the hall. Major upcoming productions include an original setting of War of the Worlds, performed both inside and outside the concert hall simultaneously (Fall 2017); a staging of Mahler’s Das Lied von der Erde with Gustavo Dudamel at the LA Phil (Spring 2018); Lohengrin for the Bayreuth Festival (Summer 2018), and Magic Flute for the Berlin Staatsoper Unter den Linden (February 2019).
Sharon was honored with a 2017 MacArthur Fellowship and a Foundation for Contemporary Art grant for theater. He serves on the board of Opera America, the Artist Council for the Hammer Museum, and as a Fellow for the LA Institute for Humanities.
Elizabeth Cline, Executive Director
Elizabeth Cline has dedicated her career to supporting interdisciplinary artists and artistic communities. For the past eight years she has curated and produced performative, site responsive works across Los Angeles. Previously she was the Assistant Director at Machine Project, an arts non-profit in Los Angeles and a Curatorial Associate at the Hammer Museum, where she organized artist’s projects in the Public Engagement program. Elizabeth has taught and lectured about contemporary art practices at Art Center College of Design, Pasadena; The School of the Art Institute of Chicago; Columbia College, Chicago; The Getty Museum, Los Angeles; Hammer Museum, Los Angeles; Portland Art Museum, Portland and The Rubin Center, El Paso.
As a librettist and director, her work explores consciousness through subjectivity and time. Her first opera, Tragedy on the Sea Nymph, starring an all dog cast, premiered in 2010 at Machine Project (Los Angeles) performed by the Calder Quartet, in 2012 it travelled to The Walker Art Center (Minneapolis), and then was featured at the 2013 Biennial of the Americas (Denver) performed by the Colorado Symphony Orchestra. In 2013 her chamber opera The Edge of Forever, inspired by the ending of the Mayan long count calendar, was performed by LA-based chamber music ensemble wild Up, conducted by Christopher Rountree, at The Philosophical Research Society (Los Angeles).
Marc Lowenstein, Music Director
Marc is the Music Director of The Industry. He has conducted the premieres of several new operas including The Mortal Thoughts of Lady Macbeth, Dice Thrown, The Scarlet Letter, The Peach Blossom Fan, and WET, and the American premieres of Schaeffer’s Loving and Aperghis’ Sextuor. For four years he conducted with the New York City Opera’s VOX new music festival and he has conducted on the Monday Evening Concert Series, with Jacaranda, with the Ear Unit, the Vinny Golia Ensemble, the Kadima Conservatory, the CalArts New Century Players, and Ensemble Green. He was the founder and music director of the Berkeley Contemporary Opera, a company that produced four seasons of contemporary operas. As a singer, he specializes in contemporary music and has performed over twenty-five opera roles including the premiere of What to Wear by Michael Gordon and Richard Foreman. Marc has written a full-length opera based on the screenplay to The Fisher King, is working on a children’s opera, and has written several shorter chamber works. He has been a professional whistler, plays klezmer clarinet, and he teaches theory, conducting, composition and history at CalArts.
Ash Nichols, Production Manager
Ash joined The Industry as Production Manager during Hopscotch. Ash has been working as a theatre artist over the past decade throughout California, originally based in San Francisco and now in the multi-faceted Los Angeles, specializing in New Works and Community-Engaged projects. Production and Stage Management credits include work with: Mark Taper Forum, Ahmanson Theatre (Harmony), Bootleg Theatre, American Conservatory Theatre, Z Space (The Companion Piece), The Jewish Theatre, Shotgun Players, Merola, Lamplighters Music Theater (Pirates of Penzance and Iolanthe), & also the Associate Production Manager at SFSU. Ash is currently an Ensemble member with Cornerstone Theater Company, and has worked on many Cornerstone productions, including: Urban Rez, California: The Tempest, Bliss Point, Love on San Pedro, and Lunch Lady Courage.