the revelatory production that R. B. Schlather created drives home that message in every way... the piece and its execution felt entirely fresh and contemporary.
— Heidi Waleson, Wall Street Journal, November 2017
a leader among the nation’s most intriguing young opera directors.
— Devra Thomas, Clyde Fitch Report, November 2017
Schlather is widely recognized as one of the most ambitious, creative, strong, and edgy opera directors working today
— Sarah Laduke, WAMC Radio, OCtober 2017
‘The Wake World’ Is O17’s Glamorous Swan Song...and very much An Event. director R. B. Schlather makes exceptionally imaginative use of the Barnes space and even its audience—this is site-specific theater as it should be.
— Philadelphia Magazine, September 2017
one of our more ambitious and effective younger directors
— New York Times, April 2017
The edgy and imaginative young director R. B. Schlather
— New Yorker Magazine, April 2017
A new production of the opera this month by the Curtis Institute of Music in Philadelphia is more effective than all that I’ve seen before, due to the unusual direction by R. B. Schlather.
— The Opera Critic, March 2017
It was as deeply moving and disturbing an opera performance as I’ve heard this season, thanks to a subtle but devastating staging by director R. B. Schlather.
— James Jorden, New York Observer, August 2016
his staging brilliantly magnified the impact of Lang’s piece...Lang’s piece came alive for artists and audience in ways that would have been impossible had the two been separated by the formal distance of a traditional proscenium theater...excitement in the crowd was palpable.
— Jordan Levin, Miami Herald, June 2016
Strong work is being done here, not least in promoting talents like Mr. Schlather…
— David Allen, New York Times, November 2015
Schlather’s eye for space and movement help retain the story’s foothold in myth…the opera is framed with restraint, and in ways that allow it to sound its own distinctive, mesmerizing voice
— Jeremy Eichler, Boston Globe, November 2015
his singers offer unafraid, impassioned performances that speak to Schlather’s ability to demolish the barriers of propriety and politeness that seem to plague much of traditional operatic experience.
— Opera Today, April 2015
The staging put great physical demands on the singers, who climbed and crawled on, over, around and under the playing area. It is to Mr. Schlather’s immense credit that all this activity felt utterly organic. If there’s one word to sum up the whole ORLANDO experience, it’s “style.” Everything fit, everything worked together…opening the mind to the infinite possibility of performance.
— James Jorden, New York Observer, May 2015
Charismatic, passionate, and immensely intelligent, Schlather’s clever directorial instincts and talent seem to be exactly what opera in the 21st century needs in order to insure its survival.
— Out Magazine, April 2015
Mr. Schlather’s work has also inherited …a mood of artful melancholy, shot through with antic humor, as well as a gift for drawing out vivid performances.
— Zachary Woolfe, The New York Times, September 2014
 Portrait by Matthew Placek

Called “the searching young director” in the New York Times’ 2017 Classical Music SEASON Preview, R. B. Schlather ( born 1986, cooperstown, usa) is widely recognized as one of the most ambitious, creative and edgy classical music artists. His 2017 exhibition of Gertrude Stein and Virgil Thompson’s opera "The Mother of Us All" at the historic Hudson Opera House was named one of the Ten Best Opera Performances of 2017 in the New York Times, “entirely fresh and contemporary” (Wall Street Journal), “Avant-garde opera for the people” (New Yorker Magazine), and the “finest operatic experience of the season” (New York Observer), among other accolades.  

In the 2017/18 Season Schlather additionally devised an installation of David Hertzberg’s opera ‘The Wake World" at the"Barnes Foundation, a world premiere commissioned by Opera Philadelphia for their inaugural O17 Festival. "The Wake World" was awarded the honor of 'best new opera 2017' by the music critics association of north america. He will direct the world premiere of hertzberg's neXT opera - "The Rose Elf" - as the first PRODUCTION in unison media's Summer Concert Series, 'THE Angel's share,' at Historic green-wood cemetery, June 2018.

In 2018 Mr. Schlather returned to National Sawdust DIRECTING a performance by the Brooklyn Youth Chorus, joined faculty for a program at the Banff Centre for Arts and Creativity, and performed Handel’s "Ariodante" for OPERA OMAHA's ONE FESTIVAL AT the BEMIS CENTER FOR CONTEMPORARY ARTS with the INTERNATIONAL CONTEMPORARY ENSEMBLE. That PRESENTATION continued Schlather’s explorations of Handel’s operas based on Ludovico Ariosto’s ‘Orlando Furioso,’ preceded by an artist residency at national sawdust (2016), and exhibitions of "Alcina" (2014) and "Orlando" (2015) in the main gallery of WhiteBox Art Center in Chinatown, NYC. Named one of the 'Top 10 Pivotal Moments for Opera and Classical Performance 2015' (WQXR), these innovations in public access to opera production gained distinguished attention in the New York Times, called by art critic Holland Cotter a “fascinating species of performance art” and classical music editor Zachary Woolfe “a gift given to the New York cultural scene.”

Recent HIGHLIGHTS include a CRITICALLY ACCLAIMED NEW PRODUCTION OF 'DOCTOR ATOMIC' for Curtis Opera Theater, Philip Glass' "MADRIGAL OPERA" developed with Choral Chameleon and Johnny Gandelsman at National Sawdust, a double bill of "Bastianello" and "The Juniper Tree" at Wolf Trap Opera, "Turandot" for the Bard Music Festival at the Richard B. Fisher Center, "in the penal colony" for boston lyric opera's annex series at the cyclorama at boston center for the arts, and performances of David Lang's "Little Match GIrl Passion" DEVELOPED with MIAMI-BASED IlluminArts as durational ACTIVATIONS at the Perez Art Museum Miami (2016) and The School | Jack Shainman Gallery (2016).

Schlather has professional affiliations with the Bard Music Festival at the Richard B. Fisher Center, Opera Philadelphia, National Sawdust, Curtis Institute of Music, LOS ANGELES PHILHARMONICWolf Trap Opera, Boston Lyric Opera, OPERA OMAHAGran Teatre Del Liceu, English National Opera, Canadian Opera Company, Tanglewood Music Festival, New York City Opera, Glimmerglass Opera, (Le) Poisson Rouge, Salon/Sanctuary Concerts, and Ash Lawn Opera.

He has participated in conferences at Princeton University and The Banff Centre for Arts and Creativity, taught at the Curtis Institute of Music, Brandeis University, and Ithaca College (where he is an alumnus of the school of humanities and sciences with a b. a. in art history), and was an artist-in-residence at national sawdust for the 2016/17 season. He has performed at the Guggenheim Museum and The Kitchen in Gerard and Kelley’s ‘Timelining.’ His solo performance ‘Don’t Call Me Cruel, Baby,’ (2015) was performed at CATCH! and Prelude NYC.

Mr. Schlather is a member of agma and represented by Columbia Artists.

(MAY 2018)