When Gina Crusco, a New York Times-praised stage director, created a Cosi fan Tutte with text messaging interactivity to determine final pairings, her innovation was recognized in Musical America's 2009 "Year in Music"; a New York Times interview resulting in a first-arts-page article; and a blogosphere response including Madison Opera Blog: "This is genius!"

Critical praise of Ms. Crusco includes Allan Kozinn's May 2010 New York Times review of her staging of Rameau's Pygmalion, where he praised her "inventive solution" and "interesting twist" to the plot as well as her "elegantly simple staging." Opera News Online wrote that Ms. Crusco's Così fan Tutte was "inspired," singling out such directorial touches as "having Dorabella's Act II aria 'È amor un ladroncello' involve a pint of Häagen-Dazs" and "one of the funniest uses of Valium that I've seen in opera to date."

Ms. Crusco has directed early opera (Dido & Aeneas, Gluck's Orfeo, Pergolesi's Livietta e Tracollo); Classical works (Magic Flute, Figaro, Don Giovanni); and contemporary premieres (Henry Papale's JULIA: An Operatic Monodrama, based on the letters of Julia Ward Howe, and BenYarmolinsky's Clarence & Anita, based on the hearings of Clarence Thomas and Anita Hill's accusations of sexual harassment). She also directed a semi-staged performance of Yarmolinsky's "The Promised Land: Poems by Samuel Menashe."

In addition to her stage directing, Gina has crafted original English lyrics, such as those for A Victorian Christmas Carol, Livietta e Tracollo, and Hansel & Gretel; English dialogue for three Mozart operas; and compelling English supertitles for Cosi and Pygmalion.

Ms. Crusco's wide stage experience has also seen her as a conductor and vocalist. Hailed in the Italian press as "la bravissima Gina Crusco," she served as Maestro del Coro of Teatro Lirico Sperimentale di Spoleto (Italy) for two opera seasons, working alongside tenor Marcello Giordani and directors Gigi Prioietti and Lydia Biondi. She has directed the Jan Hus Concert Choir in performances with full orchestra; the Westport Madrigal Singers for six years; and the Arcady Camerata in performances with Arcady Music Festival. As a vocalist, Gina created a role alongside Lili Taylor's and Paul Giamatti's stage roles in the premiere of Increase at La MaMa ETC; appeared on television and was heard on WQXR radio with MUSE; sang the title role in Pergolesi's La Serva Padrona in Todi, Italy; and twice toured throughout the U.S. as soloist with the Cornerstone Chorale.

Ms. Crusco holds a B.A. from the University of Rochester, where she studied at the Eastman School and graduated with highest distinction in Philosophy; and Master's Degrees in Philosophy from Brown University and in vocal performance from New York University, where she studied acting with Anna Deavere Smith. She was featured in the January/February 2011 issue of Rochester Review, the alumni magazine of the University of Rochester. She served on the voice faculty of New School University for nine years and founded Underworld Productions in 2004. Ms. Crusco is the recipient of a Fractured Atlas Creative Development Award, Northern Manhattan Arts Alliance individual artist grants and Manhattan Community Arts Fund awards, and is a 2011 Uptown Arts Stroll honoree.