London dates announced for 4.48 Psychosis

October 25, 2017

Dates for revival performances of 4.48 Psychosis have been announced by the Lyric Theatre Hammersmith and the Royal Opera.  The production, which premiered in 2016 at the Lyric Theatre, co-produced by the Royal Opera and the Guildhall School of Music…

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4.48 Psychosis wins UK Theatre Award for Achievement in Opera

October 11, 2016

I’m delighted to say that we have just won the award for Achievement in Opera at the UK Theatre Awards 2016.   The Royal Opera and Guildhall School of Music & Drama, in association with the Lyric Hammersmith, were nominated…

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Tickets on sale for 4.48 Psychosis

October 27, 2015

Tickets have just gone on sale for 4.48 Psychosis with the Royal Opera, at the Lyric Theatre Hammersmith.  The performances are 24th – 28th May 2016.  Tickets are selling fast, especially via the ROH.  Here are the booking links: Lyric…

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Philip to write new opera for Royal Opera House

August 25, 2013

From GSMD Press release: Philip Venables to research and write major work for performance at the ROH Linbury Studio Theatre in 2016. The Guildhall School of Music & Drama in association with the Royal Opera House recently announced composer Philip as the first Doctoral…

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Shocking Opera: a new manifesto

April 2, 2011

New opera is too safe. Even Thomas Adès’ end-of-the-pier blowjob bored me. Ninety years earlier, I am sure that Strauss’ Salome shocked people more than Powder Her Face ever did – though admittedly the Adès’ probably has a greater sense of fun. But have you seen contemporary opera in Britain and been shocked, unnerved, outraged, or even just a little pissed off? Probably not; I haven’t. All the other contemporary arts have had anarchic movements and anti-establishment manifestos, from Futurism to Dadaism to the ‘Post Porn Modernist Manifesto’. But not opera. New opera still seems shackled to the corpse of the old; “dead, repetitive, predictable, pretty”, according to Robert Thicknesse in The Guardian. Most modern art rails against conservatism; is new opera its last bastion?