• Recipient of an Irene Sharaff Award (2000)
• Recipient of Helen Hayes Awards (2001, 2002, 2006)
Robert Perdziola studied costume and scenic design at Carnegie Mellon University in Pittsburgh, Pennsylvania. In 1985 he became the resident scenic assistant designer at the Metropolitan Opera working on models for the designers Gunther Schneider-Siemssen and Franco Zeffirelli. In 1987 Robert Perdziola made his professional design debut with the Santa Fe Opera, creating sets and costumes for Shostakovich’s The Nose. In the same year he worked with an art historian to reconstruct Nicholas Roerich designs for Le Sacre du printemps with the Joffrey Ballet (New York).
His own design credits now include Bellini’s Il pirata and Richard Strauss’ Capriccio for the Metropolitan Opera, and numerous designs for Lyric Opera of Chicago, San Francisco Opera, the Santa Fe Opera, Fort Worth Opera, Opera Boston, Cincinnati Opera, Opera Theatre of Saint Louis, the Curtis Institute of Music (Philadelphia), Glimmerglass Opera (Cooperstown, State of New York), the Jacobs School of Music (Indiana University Bloomington). He has designed many and various productions of Mozart’s Le nozze di Figaro and Così fan tutte as well as Richard Strauss’ Arabella for the Sydney Opera House.
His ballet designs include the revival of Antony Tudor’s Pillar of Fire (2003), Michel Fokine’s Le Spectre de la rose (2004), sets and costumes reconstruction for Harlequinade (2018; for this production Perdziola was nominated for a Benois de la danse award), The Seasons (2019) for American Ballet Theatre, Alice in Wonderland (2016) for the Finnish National Ballet, sets and costumes for Giselle (2019) for the Bolshoi Ballet, various works for Boston Ballet, San Francisco Ballet and Miami City Ballet.
Robert has been a part of the Board of the Tobin Theatre Arts Fund (San Antonio, Texas) since 2000, whose mission is to honour theatre design as a distinct and worthy art form.
Information for March 2023