Moritz Junge

Moritz Junge is a set and costume designer who works internationally across theatre, opera, dance, and entertainment.  Born in Germany, Junge studied at the University of the Arts in Berlin before completing his MFA in set and costume design at London’s Slade School of Fine Art.  In 2001 he was the overall winner of the Linbury Prize, the UK’s most prestigious award for graduates in stage design.  Following his degree show, he debuted with Tom Cairns designing the world premiere of Tom Ades’s The Tempest, which opened in 2004 at the Royal Opera House in London.  Junge has since worked consistently with many leading performing arts institutions in the world, alongside numerous commercial projects, including costume design for the London 2012 Paralympic opening ceremony.  He also regularly works with photographer Finlay MacKay, creating and styling commercial images for advertising campaigns such as the Lavazza calendar in 2008 and a Sony BMG album for Paloma Faith.

His ballet work includes Songs of Bukovina (American Ballet Theatre), Outlier (New York City Ballet), Dyad 1929 (The Australian Ballet and Houston Ballet), L’Anatomie de la Sensation (Paris Opera Ballet), and Renature (NDT).  For The Royal Ballet, he has designed Woolf Works, Live Fire Exercise, Limen, Infra (also for The Joffrey Ballet, Mariinsky Ballet, Tulsa Ballet, Royal Danish Ballet, Flanders Ballet, and The Australian Ballet), and Chroma (also for 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).

His opera work includes designing the set and costumes for Così Fan Tutte (Sydney Opera House) and The Love for Three Oranges (Staatstheater Mainz).  His costume designs for opera include The Flying Dutchman, Norma, Roberto Devereux, and Cavalleria Rusticana/Pagliacci (Metropolitan Opera, New York), Rusalka (Lyric Opera, Chicago), Beatrice et Benedict (Theater an der Wien), Don Carlo (Bolshoi, Moscow), Daphne (La Monnaie, Brussels), Messiah (English National Opera and Opéra de Lyon), and La Cenerentola (Glyndebourne).  For the Royal Opera House his work includes: Les Troyens (also for La Scala and San Francisco Opera), Aïda, and The Tempest.

Costume designs for theater include A Midsummer Night’s Dream (Shakespeare’s Globe), In the Republic of Happiness (Royal Court), Aristocrats (Donmar), The Visit, The Kitchen, Dido, Queen of Carthage, and The Hour We Knew Nothing of Each Other (National Theatre), Judgment Day and Dance Nation (Almeida), and All About my Mother (Old Vic).