Мориц Юнге


Most recently, Moritz designed the set and costumes for Cosi Fan Tutte (Opera Australia) and Powder Her Face (Theater Aachen) and the costumes for Wayne McGregor’s Multiverse (The Royal Ballet) and the world premiere of The Winter’s Tale (English National Opera).

His opera work includes designing the costumes for Roberto Devereux and Cavalleria Rusticana/Pagliacci (Metropolitan Opera), Rusalka (Lyric Opera Chicago), Beatrice et Benedict (Theater an der Wien), Don Carlo (Bolshoi Opera), Daphne (La Monnaie, Brussels), Messiah (English National Opera, Opéra de Lyon) and La Cenerentola (Glyndebourne). For The Royal Opera his work includes: Les Troyens (also La Scala and San Francisco Opera), Aïda (also Valencia) and The Tempest.

His ballet work includes Outlier (New York City Ballet), Dyad 1929 (Houston Ballet), L’Anatomie de la sensation (Paris Opera Ballet), Renature (NDT). For The Royal Ballet, he has designed Woolf Works, Live Fire Exercise, Limen, Infra (also for Joffrey Ballet, Mariinsky Ballet, Tulsa Ballet, Hessisches Ballet, Royal Danish Ballet, Flanders Ballet and The Australian Ballet) and Chroma (also The Australian Ballet, Alvin Ailey American Dance Theater, Boston Ballet, National Ballet of Canada, San Francisco Ballet, Royal Danish Ballet, Pennsylvania Ballet, Bolshoi Ballet, Dutch National Ballet and Polish National Ballet). He designed the costumes for Dyad 1929 for The Australian Ballet.

Costume designs for theatre include A Midsummer Night’s Dream (Shakespeare’s Globe), In the Republic of Happiness (Royal Court), The Kitchen, Dido, Queen of Carthage and The Hour We Knew Nothing of Each Other (National Theatre), Judgment Day (Almeida) and All About my Mother (Old Vic). He also designed costumes for the London 2012 Paralympics opening ceremony.

He was the overall winner of the Linbury Prize for Stage Design in 2001.