Winner of the National Opera Association's JoElyn Wakefield-Wright Directing Fellowship, Julia Mintzer directed the first full staging of Beethoven's Fidelio with historical instruments in the United States, produced by period orchestra Grand Harmonie and Princeton University, and listed as one of Opera News's "Noteworthy and Now."   She joined the Helsinki Festival to direct Sissy is to Bassarid, an original piece for their Music Theater Creation Lab, and this spring she will lead an all-female cast of La Boheme for Metrowest Opera.  In the summer she assistant directs Rigoletto at Charlottesville Opera (dir. Albert Sherman.)

Her production of La Cenerentola for Bel Cantanti Opera was acclaimed as “wildly funny…This production is just the sort of thing that keeps opera alive and relevant.” (BrightestYoungThings.com) Her Dido and Aeneas for Hubbard Hall Opera was also commended by reviewers for its “striking ideas” (The Berkshire Review) and its final tableau, described as “a knife in the heart -- a wonderfully dark gesture.” (The Daily Gazette.) Other credits include Alcina for Satori Opera, Il Tabarro for Garden State Opera, The Old Maid and the Thief for Hubbard Hall Opera, and L'elisir d'amore for Bel Cantanti Opera.  Also in the world of historical performance, she staged Schutz's Weihnachtshistorie with The Weckmann Project and Musica Nuova.

Ms. Mintzer's interactive theater piece Pizza Parlance, in collaboration with artist Charles Ogilvie, was listed in Nombre Art Magazine's "5 Must-Sees of Venice Biennale" and their performance piece Chacun a son gout was presented at STORE Contemporary in Dresden, Germany.  She staged an original performance piece "Well I want it in writing, the smallest event and the secretest agency” at Cornell University’s Society for Humanities.  She has been sponsored by the European Network of Opera Academies to direct excerpts from Il barbiere di Siviglia in a workshop at the Opera Academy of Verona.  

Julia has led seminars on the integration of technique and interpretation at the University of Cologne's Institute for Art and Art Theory, has been a guest speaker at Europa-Universität Flensburg,   taught masterclasses at the Bel Canto Summer Program in Munich, and will guest teach at New England Conservatory Preparatory Division this spring. She has directed scenes programs for the University of Dayton Early Music Ensemble, Opera for Humanity, and the Tanglewood Institute, where she was on faculty for the Young Artists Vocal Program for two years.  She is a graduate of The Juilliard School with additional studies at Columbia University.