Danielle Urbas trained as an actor at the Drama Centre London. Her acting credits include productions for stage, TV and film. In 2012 she made her directorial debut with Emily Howard’s Zatopek!, a short opera as part of the New Music Festival 20x12 (Epstein Theatre, Liverpool, and South Bank Centre, London). Her most recent production was of Beverley Andrews’s Awa’s Journey in collaboration with Union Dance company in the Arcola Theatre in London last year.
She assisted Antony McDonald on his production of Thomas Adès’s Powder Her Face for NI Opera and makes her Irish National Opera debut when she directs the revival of that production in February. She previously assisted McDonald on Gerald Barry’s The Importance of Being Earnest (Wide Open Opera/NI Opera), Wagner’s Tristan and Isolde (Opéra national du Rhin) and Bock’s Fiddler on the Roof with Bryn Terfel (Grange Park Opera).
She also assisted Oliver Mears on productions with a number of companies — Martinu’s The Three Wishes (Tête à Tête, The Future of Opera Festival), Martinů’s The Knife’s Tears (Ensemble Opera Diversa, Brno, DISK Theatre, Prague), all with Second Movement; Menotti’s The Medium, Offenbach’s Orpheus in the Underworld (also Scottish Opera), Britten’s The Turn of the Screw (which she also revived for Novaya Opera in Moscow), Wagner’s The Flying Dutchman, Verdi’s Macbeth, Strauss’s Salome, and Mozart’s Don Giovanni, all with NI Opera
Her other assisting credits include director/choreographer for Ashley Page on Puccini’s La bohème (Nevill Holt Opera), Daniel Slater on Messager’s Fortunio (Grange Park Opera), Adele Thomas on Mozart’s Così fan tutte (NI Opera), assistant movement director on La bohème at the Royal Opera, London, and revival movement director, for the same production at Teatro Real, Madrid.