After his studies at the Hanns Eisler Berlin Academy, Miron Hakenbeck worked as a dramaturge with Krzysztof Warlikowski on many of his operatic productions at the Wielki Theatre, in Warsaw (Wozzeck), at La Monnaie in Brussels (Médée) and the Ruhrtriennale (Pelléas et Mélisande). From 2008 to 2018, he was the Bayerische Staatsoper Munich dramaturge, where he worked with Krzysztof Warlikowski (Eugene Onegin, Die Frau ohne Schatten, The Stigmatized, Salomé, Tristan und Isolde) and Andreas Kriegenburg, Arpad Schilling, Stephan Kimmig and Sidi Larbi Cherkaoui. With the dramaturgy team and artists including Sven Holm, Romeo Castellucci, Ludger Engels, Lucia Ronchetti, Jan Duszynski and Nikolaus Brass, he also developed projects in theatrical spaces outside of the leading stages and for the urban space. Since the 2018/19 season, Miron Hakenbeck has been the Stuttgart Staatsoper resident dramaturge, shaping his own artistic version of the position with director Viktor Schoner. There, he is working with Arpad Schilling, Stephan Kimmig, Barbara Frey, Schorsch Kamerun, Anika Rutkofsky and the HAUEN UND STECHEN collective. With composer Sergej Newski, the Titus Engel orchestra conductor, and director Paul-Georg Dittrich, he created BORIS, a fusion of Moussorgski’s Boris Godunov with Newsky’s new composition Secondhand-Zeit, based on texts by Swetlana Alexievich from her book The End of the Red Man. More recently, he started a collaboration with director Ewelina Marciniak for the productions of Das Rheingold and Die Walküre in Bern.

At the Paris Opera: Iphigénie en Tauride, 2006; The Makropulos Case, 2007; Parsifal, 2008; King Roger, 2009; A Quiet Place, 2022