Oriol Tomas was assistant director for Pacific Opera Victoria's 2008 production of Thaïs and returned to make his professional mainstage directing debut with Handel's Rodelinda in 2010, followed by Strauss' Ariadne auf Naxos in 2014. He directs POV's production of Mozart's The Magic Flute in 2017.
In Fall 2013, this young Canadian stage director made his debut in France with a new production of Don Giovanni at the Opera de Tours and Opera de Reims. As winner of the Competition of the Centre français de promotion lyrique, he returned to France to direct Henri Sauguet's Les Caprices de Marianne, which played in 16 French Opera houses, including Théâtre du Capitole de Toulouse, Opéra du Grand Avignon, Opéra de Bordeaux and Opéra de Marseille, for a total of 50 performances from 2014 to 2016. Les Caprices de Marianne received the 2014/15 Claude Rostand Critics Award.
For the 2016/17 season, in addition to The Magic Flute at Pacific Opera Victoria, he directs Verdi's La traviata for Les Jeunesses Musicales du Canada and Pierre Gaveaux' Léonore, ou l'amour conjugal at Opera Lafayette in Washington.
He recently directed Gounod's Roméo et Juliet for Les Jeunesses Musicales du Canada, and created From Silver Screen To The Opera, an innovative project for Opéra de Montréal. In recent seasons he has directed Rossini's Le Barbier de Séville, Verdi's Il trovatore, and Strauss' La Chauve-Sourisat l'Opéra de Montréal.
In recent seasons, Oriol has directed Donizetti 's Don Pasquale for Les Jeunesses Musicales; l'Atelier lyrique's productions of Menotti's The Telephone and The Consul in collaboration with the National Theatre School of Canada; Noël à l'Opéra, presented in collaboration with l'Orchestre Métropolitain; Apéro à l'Opéra, a television show broadcast on ARTV; and two of his own creations: Le Quatrième Enfant-Lune composed by Gabriel Thibaudeauone, and Aleacanto, programmed in the PDA junior series at Place des Arts in Montreal and nominated for the 2010-11 Prix Opus in the category "Best show for young audiences".
Other directing credits include Handel's cantata Apollo et Daphné at the Festival International de Musique Baroque de Lamèque (NB) and two productions at the Conservatoire de musique de Montréal: Offenbach's La Périchole and Solitudes, a collage of operatic excerpts.
In 2008, Oriol Tomas presented Debussy's Pelléas et Mélisande as part of his master's degree in operatic stage direction. In 2003, he graduated in acting at l'École supérieure de théâtre de l'Université du Québec à Montréal. He also studied stage direction and theatrical theory at Université Laval in Québec (1996).
Oriol Tomas's production captured the work's character unerringly, and marshaled the whole cast with compelling dramatic impact. Sets, costumes, and lighting were all splendid.
Bernard Jacbobson, Seen and Heard International, review of Pacific Opera Victoria's Ariadne auf Naxos, 2014.
Entre insouciance frivole et tragédie de l'amour, la mise en scène d'Oriol Tomas tend un fil traversant ce petit monde où se mêlent rire et émotion, fanfaronnade et elegance, amour et désespoir.
[Between frivolous carelessness and the tragedy of love, the staging of Oriol Tomas draws a thread through this little world with its mingling of laughter and emotion, bluster and elegance, love and despair.]
La Nouvelle République, Tours, Review of Les Caprices de Marianne, 2015
The stage direction of Oriol Tomas was fluid, fun and blissfully free of pretension.
Montreal Gazette, Review of Die Fledermaus, Opéra de Montréal, 2013