Bruno Ravella

Opera director 


Bruno Ravella is an international opera director based in London. Born in Casablanca, Morocco, of Italian and Polish parents, Bruno Ravella studied in France then moved to London in 1991 upon graduation.

His critically acclaimed production of Werther at the Opera National de Lorraine won the Prix de la Critique Claude Rostand in 2017/2018. Falstaff at the Garsington Opera in 2018 was nominated for the South Bank Sky Arts Award in the Opera category. This was his second production at Garsington after a very successful Strauss’ Intermezzo in 2015. He has directed Rigoletto (Opera Theatre of St Louis, USA), La Boheme (Opera di Firenze, Italy), La Belle Hélène and L’heure espagnole/Gianni Schicchi (Opéra National de Lorraine, France), Werther (Opera de Quebec), Madam Butterfly, Macbeth, Agrippina, Falstaff and La traviata (Iford Arts, UK), Giulio Cesare and La Traviata (Stand’été Moutier, Switzerland), Carmen (Riverside Opera, UK), Charpentier’s La Descente d’Orphée aux enfers and Blow’s Venus and Adonis (Les Arts Florissants, France), La Descente d’Orphée aux enfers (Glyndebourne Jerwood Project, UK). Ravella has been nominated for the Independent Opera Director Fellowship 2015. Ravella has been recognized time and again  for his “pin-sharp attention to detail” and ability to clearly portray subtleties of the human condition.


“Every aspect of Bruno Ravella’s period (i.e. 1920s) production for Garsington Opera is pin-sharp in its attention to detail. Giles Cadle’s sets are a masterpiece of creating different environments with a minimum number of moving parts: simple devices transform the Strauss home into a ski and toboggan slope (including a ski lift and a real crash between Christine and the young Baron) followed by the Grundlsee mountain inn, the Baron’s lodging and Robert’s club in Vienna. Every prop is precise, the maids move as if they were trained in a posh school for domestic servants. Stagecraft is superb throughout.” “But the score is remarkable for being closely knit with the dialogue, continually changing in response to the mood and speech pattern of every sentence: van Steen, Ravella and their cast followed this closeness utterly faithfully. And the final quarrel, when everything is supposedly settled, was an utterly accurate portrayal of how the two people in a marital row can steadily dig themselves into a hole, regardless of any logic or sense, out of which they cannot escape – until the row dissipates itself for no more reason than how it started. By the end of the opera, it totally won me over as a true-to-life portrait of enduring love, with all its trials, tribulations, comfort and joy.”

David Karlin


“Ravella’s direction was unfailingly sharp and witty.”

George Hall

Opera News

More Reviews

“But the real secret of this show’s success lies in Ravella’s direction, which scintillatingly mirrors the quicksilver intricacy of the score here brightly rendered by the Philharmonia Orchestra under Richard Farnes’s baton.”.

Michael Church, The Independent


“Bruno Ravella’s fast-paced direction for Garsington Opera honours Falstaff’s intense immediacy with a clear emphasis on dynamic physical and visual comedy underpinned by taut stagecraft, while still allowing time for its vital moments of pathos to breathe on stage in this subtle, elegant production.”

Charlotte Valori, Bachtrack