Mario Corradi completed his studies at the University of Milan and Yale University. He acted as an assistant director to Jean-Pierre Ponnelle and to Ken Russell. He made his debut in 1982 and since that time has directed in Opera Houses all over the world (except Australia, but he has not given up hope). He has worked with notable artists such as Frederica von Stade, Fiorenza Cossotto, Piero Cappuccilli, Denyce Graves, Vladimir Galouzine, Renato Bruson, Lucia Valentini Terrani and Daniela Dessi. Mario Corradi often gives master classes for young singers. His repertoire spans from Monteverdi to contemporary composers. In the past he has taught at the University of Notre Dame, Yale University and the Catholic University of Milan.
Mario Corradi began his theatrical career with the Yale University Theatre where, between 1970 and 1974, acted in and directed a wide range of plays while completing his doctoral studies in Philosophy.
Upon his return to Milan he began teaching Philosophy (especially Greek and Contemporary) at the Catholic University of Milan. He retired from teaching in November 2010. In 1977 he met Jean-Pierre Ponnelle and started working as his assistant until he made his debut as stage director with Il Matrimonio Segreto, Palermo, February 1982. Since his debut he has also worked as an assistant of Ken Russell for the Charleston and Spoleto's Madama Butterfly in 1983.
Mario Corradi has worked in:
Aachen, Athens, Baalbek Festival, Bad Hersfeld, Belo Horizonte, Bergamo, Berlin, Cagliari, Charleston, Cincinnati, Dallas, Detroit, Genova, Hamburg, Hiroshima, Jesi, Kiev, Madrid, Malta, Marseilles, Montecarlo, Munich, Opera Pacific, Palermo, Palm Beach, Parma, Rio de Janeiro, St. Gallen, Seoul, Spoleto, Tokyo, Torre del Lago Festival, Trapani, Valencia, Yerevan
Operas he has directed include, among others:
Aida, Amelia al Ballo, Andrea Chenier, L’Assedio di Corinto, Attila, Un Ballo in Maschera, Il Barbiere di Siviglia, Bohème, Carmen, Cavalleria Rusticana, La Cenerentola, Così Fan Tutte, Don Giovanni, Don Pasquale, L'Elisir d’Amore, Falstaff, La Fanciulla del West, Faust, Gianni Schicchi, Il Maestro di Cappella, La Serva padrona, La Gioconda, L'Italiana in Algeri, Lucia di Lammermoor, Luisa Miller, Die Lustige Witwe, Macbeth, Manon Lescaut, Madama Butterfly, Il Matrimonio Inaspettato, Il Matrimonio Segreto, Maria Golovin, Nabucco, Norma, Nozze di Figaro, Orfeo ed Euridice,Otello, Pagliacci, I Puritani, El Retablo de Maese Pedro, Rigoletto, Rita, Romeo et Juliette, Il Signor Bruschino, Simon Boccanegra, La Sonnambula, Tannhüaser, Il Teseo Riconosciuto, Il Trittico (integrale), Tosca, La Traviata, Turandot, Werther.
As a member of the Giuseppe di Stefano International Competition (Trapani, Sicily), from 1994 until 2007 Mario Corradi, together with the late Magda Olivero, gave Master Classes in acting to the young Competition winners. The competition was aimed at finding singers for an Opera. The prize was the role. The winners had to go through a series of master classes: Magda Olivero was teaching voice, Mario Corradi was teaching acting. After the initial training, regular rehearsals began and the operas were performed during a Summer Festival.
His latest productions include: Il Trittico, Tannhäuser, Die lustige Witwe, Nozze di Figaro for Aachen and Fanciulla del West for Detroit
[...]which brings up the first gold star for stage Director Mario Corradi: he avoids the cliché practice of turning the soldiers' homecoming march into a splint-and-bandage commentary on the awfulness of war. Corradi also scores with the demonic figures he has hovering on the fringes of the play, sometimes even interacting with the main characters.
- Lawrence B. Johnson - Detroit News
Director Mario Corradi plots a zippy course. The handsome sets turn inside out like a two-way jacket and Corradi has them twirling into the upcoming scenes even before the previous scence has finished.......but Corradi's most impressive asset is the cast. The singers strike and ideal balance with their characters, and we laugh not because we're supposed to, but because the acting makes us. A big difference
- Mark Stryker - Detroit Free Press
La mise en scène brille par le jeu des acteurs. Comique de situations, saynètes croustillantes, inclusion de dialogues en anglais en forme de farce.., force est de constater que chaque chanteur campe son rôle avec le plus grand respect du genre
- Stéphabe Villemin - Opera International - Paris
LA FANCIULLA DEL WEST
It is staged by the talented Mario Corradi in the manner of American movies: rapid, explosive, three-dimensional...... Corradi achieved the difficult task of making the characters s true to life as possible and treating their reactions to music as natural and inevitable
- Dimitri K. Katsoudas - The Athenian - Athens
ORFEO E EURIDICE
El montaje de Mario Corradi practica una lìnea culturalista en la que se combinan las visiones renacentista, y hasta la maquinaria de Leonarda da Vinci y neoclasicista, en una interessante manipulaciòn de los tiempos y los gustos que quizà habita en el fondo de la misma partitura de Gluck hecha sustancia teatral.
- Enrique Franco - El Pais – Madrid
ORPHEUS UND EURYDIKE
Mario Corradi, der Regissuer dieses Abends, liess erkennen, dass er by berühmten vorbildern studiert hat: die Übereistimmung von Text und Musik erfährt eine nahezu perfekte Übertragung auch ins Optische. Corradi führt dabei nicht nur die Hauptakteure, sondern vor allem auch die Chormasses sehr überzeugend, er benütz di herrliche, grosse Naturbühne als Shauplatz für Szenen von wuchtigen Ausmassen...ebenso wie für grosser Intimität.
- M.A.W, Oberhessische Presse – Marburg
NOZZE DI FIGARO
Dynamic, out-of-the-box stage directing by Mario Corradi
- Sharon McDaniel - South Florida Classical Review - Palm Beach
Carta vincente di questa Turandot è il bello spettacolo firmato dalla regia di Mario Corradi.....La regia, per altro attenta nel muovere le masse, mostra la sua più bella idea nel vestire le tre maschere in abiti novecenteschi, trasformandoli in una sorta di personaggi dandy che si godono la vita fumando oppio e sniffando cocaina. Per mezzo di loro parla – secondo il pensiero di Corradi – la voce di Puccini il quale, con ironia un po' cinica ed amara, dinnanzi alla pietosa illusione del vivere, condanna l'infatuazione amorosa di Calaf per la “pricnipessa di gelo”.
- Alessandro Mormile - L'Opera – Novara, Milano