Philip Venables

Tag: Opera & Music Theatre

  • We Are The Lucky Ones at Ruhrtriennale 2025

    We Are The Lucky Ones at Ruhrtriennale 2025

    The programme for the 2025 Ruhrtriennale has been announced. We Are The Lucky Ones will feature in the festival, which will be the opera’s German premiere. The production by Ted Huffman is playing there in the wonderful Jahrhunderthalle for four performances on 4th–7th September, conducted by Bassem Akiki and with many of the same cast as gave the world premiere in Amsterdam in March 2025.

    For more information and tickets, click here.

  • We Are The Lucky Ones at Tiroler Festspiele

    We Are The Lucky Ones at Tiroler Festspiele

    The 2025/26 season at the Tiroler Festspiele in Erl, Austria, has been announced. We Are The Lucky Ones will feature in the festival, which will be the opera’s Austrian premiere. The production by Ted Huffman is playing there for two performances, conducted by Bassem Akiki and with the same cast (almost) as gave the world premiere in Amsterdam in March 2025.

    For more information and tickets, click here.

  • 5-star reviews for We Are The Lucky Ones

    5-star reviews for We Are The Lucky Ones

    Here is a selection of press quotes from the premiere production of We Are The Lucky Ones, March 2025 (some machine translated):

    Critic’s Pick: ‘We Are the Lucky Ones’ gives voice to a generation. This new opera assembles a compassionate, haunting portrait of the middle class that emerged from World War II and considers what they leave behind. […] What emerges, in an opera as compact and overwhelming as “Wozzeck,” is a portrait of a generation told with compassion, wisdom and artfulness. […] the creators of “We Are the Lucky Ones” push the boundaries of opera […] Like the best of opera, “We Are the Lucky Ones” often says two things at once, between the libretto and the score. — New York Times

    ⭐️⭐️⭐️⭐️⭐️ “Octet singers astound in amazing opera ‘We Are The Lucky Ones’. […] a thunderous opening of the Opera Forward Festival. Bassem Akiki conducts the complex and attractive score with preponderance and swing.” — Trouw

    ⭐️⭐️⭐️⭐️⭐️ In the overwhelming opera ‘We Are The Lucky Ones’, an entire lifetime flashes before you. Everything about this brand-new performance about the baby-boomer generation is a bullseye. Venables glues the fragments of life together with contrasting and often sliding orchestral music, with brass and percussion at the base and colourful shots of piano, accordion and saxophone. The atmosphere is clearly the Hollywood, jazz and ballroom scene of the mid-twentieth century, but nowhere does it become cheap imitation. Meanwhile, the rhythmic tapping of woodblocks warns that time is moving irrevocably forward. A whole lifetime flashes before your eyes in this overwhelming festival opener that penetrates both heart and mind. — NRC

    ⭐️⭐️⭐️⭐️⭐️ We Are the Lucky Ones is marvellous in scope and achievement. …a harrowing, tender, funny, non-judgmental living portrait of a generation widely regarded as the winners, and a profound reflection on the human condition. Taking his inspiration from the 20th century’s culturally polyphonic second half, Venables has created a huge-hearted score bursting with nostalgic references to Hollywood, jazz and dance and popular classics, with sublime vocal writing in which the soloists are their own chorus, all in a musical language that is entirely his own. — Bachtrack

    Heartwarming portrait of a generation of ‘boomers’. — Theaterkrant

    We Are The Lucky Ones has become a performance of great eloquence. The fragments of text brought together in the libretto are conveyed by eight soloists in a constellation that is both musically and visually virtuosic. […] Philip Venables’ music fits that scheme with an easy-to-hear patchwork full of deliberately chosen quotations and references. The result is a clearly instrumented and homogeneous orchestral backdrop for the soloists that perfectly matches the mood of their lyrics. […] We Are The Lucky Ones is a successful example of a new path. And that applies to both the work and the performance. Not insignificantly, moreover, Venables and Huffman were able to build on three centuries of musical theatre without rigorously jettisoning all traditions and achievements. In short: a surprising and above all hopeful opening of the Opera Forward Festival 2025! — Opus Klassiek

    Holding up a mirror to the audience, moving them, provoking thought and painting a picture of our possible future — these are just some of the possibilities that the performing arts can provide for us. All this and more is currently on offer in De Nationale Opera’s Opera Forward Festival, We Are The Lucky Ones. — De Nieuwe Muze

    Venables’ “We are the Lucky Ones” causes a sensation in Amsterdam. A sumptuous cast of singers, led by Bassem Akiki’s sharp musical direction, magnify this unclassifiable and seductive music. […] Venables offers a highly effective score, joyfully inviting echoes of Hollywood, big band, swing and jive. Moving pedal tones form the background for the interviews; tight imitations sketch out the dialogue; a few symbols can be heard, here a perpetuum mobile represents work, there aggressive syncopations illustrate a hunting scene, while the final regrets will see the gradual crumbling of the material. The whole is delightful for its diversity and enchanting for the balance between voices and instruments. — Diapason

    Venables’ score responds perfectly to the kaleidoscope of scenes and situations, for the first time composing an opera for symphony orchestra, from which he draws brilliant fruit. The British composer’s music unambiguously embraces an eclecticism that should not be confused with a lack of personality; passages of a density somewhere between post-modern and post-minimalist coexist with the evocation of rhythms typical of the decades evoked with a clear component of Hollywood sumptuousness, for music that never falls (nor does the libretto) into easy sentimentality. Not least, Venables also knows how to write for the voices without sacrificing the clear enunciation of the text. — Opéra Actual

    Der Zukunft der Oper... a sound that alternates between music of memory, wild outbursts and lyrical moments. Their vital parlando forms the core of the whole. — TAZ

    A polyphonic tale made up not by eight characters but by the eight intertwined voices of the formidable and versatile performers of this brilliant work. […] If the bitter aftertaste of that hyper-realistic 90-minute synthesis of a life is inevitable, it is sweetened with a generous dose of irony, distributed copiously by the stylistically heterogeneous and theatrically intelligent score by Venables, who for the first time writes for a large orchestra. — Giornale della Musica

    When opera tells our real story. The instrumental score, intended for a traditional symphony orchestra with additional percussion, accordion and piano, is rich in a variety of writing styles, all fairly accessible, and nicely supports or complements the voices, which are left to express a whole range of feelings and emotions, either solo or in ensembles. — La Libre

  • We Are The Lucky Ones production images

    We Are The Lucky Ones production images

    We Are The Lucky Ones premiered at Dutch National Opera & Ballet, Amsterdam, on 14th March 2025. Here are some production shots, credit: Dutch National opera | Koen Broos.

    Libretto: Nina Segal, Ted Huffman
    Conductor: Bassem Akiki
    Direction: Ted Huffman
    Assistant directors: Sonoko Kamimura, Masha Zhukova
    Design: Ted Huffman, Bart van Merode
    Movement: Pim Veulings
    Costumes: Ted Huffman, Sonoko Kamimura
    Light: Bertrand Couderc
    Video: Nadja Sofie Eller, Tobias Staab
    Dramaturgy: Nina Segal, Laura Roling
    Cast:
    Claron McFadden, Jacquelyn Stucker, Nina van Essen, Helena Rasker, Miles Mykkanen, Frederick Ballentine, Germán Olvera, Alex Rosen

    with the Residentie Orkest

  • Preview articles about We Are The Lucky Ones

    Preview articles about We Are The Lucky Ones

    Here are links to three in-depth previews of We Are The Lucky Ones, published in the Dutch press. (excerpts machine translated.)

    NRC
    The stories of dozens of people born in the 1940s make up the new opera ‘We Are The Lucky Ones’
    Opera Forward Festival ‘We Are The Lucky Ones’ is a collage opera about the generation of Europeans born in the 1940s who were getting better and better. ‘The stories about standard events like birth and marriage turned out to be the most powerful.’

    Trouw
    Opera ‘We Are The Lucky Ones’ reveals how baby boomers look back on their lives.
    How do 70- and 80-year-olds look back on their lives? The opera We Are The Lucky Ones was distilled from interviews with eighty average Europeans and Americans. The title is a quote from one of the interviewees.

    de Volkskrant
    Baby boomer opera tells story of a lucky generation
    Philip Venables and Ted Huffman interviewed seventy western European baby boomers — including their parents — for the opera We Are The Lucky Ones, about a generation of ‘lucky ones’ who are leaving the world worse off on many levels. The makers wonder: are the younger generations making better choices?

  • 4.48 Psychosis announced at Staatstheater Mainz

    4.48 Psychosis announced at Staatstheater Mainz

    Staatstheater Mainz has just announced a new production of 4.48 Psychosis in the 2024/25 season. The production will be directed by Rahel Thiel and conducted by Samuel Hogarth. The premiere will be on 26th April 2025 in the small house. More details and tickets available here.

  • Faggots and their Friends announced at the Ruhrtriennale

    Faggots and their Friends announced at the Ruhrtriennale

    The Faggots and their Friends Between Revolutions has just been announced in this year’s Ruhrtriennale in Bochum, Germany. Four performances will take place from 17th—20th August 2024 in the Jahrhunderthalle Bochum. It’s an exciting festival programme, covering theatre, music, dance and art, and I’m delighted that we get to share the festival with so many artists I admire, such as Isabelle Huppert, Romeo Castellucci, PJ Harvey, Kirill Serebrennikov and Marlene Freitas, and many others to discover.

    Tickets and more information here.

  • New opera announced: We Are The Lucky Ones

    New opera announced: We Are The Lucky Ones

    I’m delighted to announce our next opera, We Are The Lucky Ones.

    The opera is commissioned by Dutch National Opera, and it will premiere at the Opera Forward Festival in Amsterdam on 14th March 2025. I am writing it with Ted Huffman and playwright Nina Segal. It will be my first opera with orchestra, conducted by Bassem Akiki. We have a stellar cast: Claron McFadden, Jacquelyn Stucker, Nina van Essen, Helena Rasker, Miles Mykkanen, Frederick Ballentine, Germán Olvera and Alex Rosen.

    The press release says: “We Are The Lucky Ones tells the story of a generation. It is based on interviews with more than 70 people in Western Europe who were born in between 1940 and 1949. It is the story of people who started out life with little, who experienced ever-improving living standards and are now leaving behind a world where such growth is no longer sustainable. Their memories form a collective time capsule of the past eighty years, told as one continuous life story in music theatre form. Following individual experiences and societal changes over the decade, the opera raises crucial about the relationship between the private and the political, the impact of our choices and what truly matters in the end.”

    Tickets will be available in August.

  • Residency at MacDowell

    Residency at MacDowell

    I’m incredibly lucky to have been awarded a 4-week residency at MacDowell Artists Colony in New Hampshire, USA, where I am currently through to 14th March. The Irving Fine Studio, where I live and work, is in the picture. It’s a beautiful time to be here — the snow is crisp, the woods are incredibly peaceful, and the deer loiter around. I’m spending the time here working on a new opera to be produced next season — details to be announced in two weeks. I’m very grateful to MacDowell for inviting me, and to the other artists and writers here for their inspiring company. The names on the wall show previous inhabitants of this studio — including friends and colleagues like Sivan Eldar, Du Yun, Errolyn Wallen and Ted Hearn — and also Meredith Monk!

  • Faggots and their Friends announced at Holland Festival

    Faggots and their Friends announced at Holland Festival

    The Faggots and their Friends Between Revolutions has just been announced in this year’s Holland Festival in Amsterdam. The performances will take place on 13th and 14th June 2024 in the Muziekgebouw. It’s a wonderful festival to be part of, covering theatre, music, dance and art, and I’m delighted that we get to share the festival with so many artists I admire, such as Marina Abramović, Dries Verhoeven, Forced Entertainment and Trajal Harrell, and other artists that I’m excited to discover.

    Tickets and more information here.

  • Great reviews for FATFBR at the Southbank Centre

    Great reviews for FATFBR at the Southbank Centre

    The Faggots and their Friends Between Revolutions completed its four-night run at the Southbank Centre last week to packed, lively audiences. Here is a selection of the reviews, all very positive.

    “a stripped-back, intensely emotional production […] an intelligent and playful attempt at tackling a challenging subject matter” — British Theatre Guide.

    “a transformative theatrical experience, blending fantasy and history in a radical fairy tale that challenges societal norms […] a must-see for those seeking a truly touching queer performance” — West End Evenings

    “A mesmerising celebration of the queer experience which is both provocative and poignant.” — Everything Theatre

    “A defiant representation of a liberal manifesto, the performance is a festival of self-expression and a joyous reclaiming of identity […] a show you’d want to see multiple times just to ensure you haven’t missed a moment.” — West End Best Friend

    “a true gaze at otherness and the power of allies.” — Broadway World

    “an absorbing piece of music theatre that both challenges and beguiles its audience.[…] a work that almost defies description. Part vaudeville, part cabaret, and infused with dance, opera, and spoken word, they have created the ultimate queer gesamtkunstwerk whose originality and daring are breathtaking […] Venables’ score requires a myriad of instruments that span several centuries. Lute songs are interspersed with the urbane accompaniment from a saxophone, a theorbo whisks us back to Elizabethan times, before we’re jolted back to the present day by rave music complete with strobe lighting. No musical genre goes unexplored. In lesser hands, this could descend into mere pastiche, but Venables is too skilled a composer to fall into that trap. His score is audacious, vibrant and challenging […] At times dark, yet often laugh out loud funny, The Faggots and Their Friends Between Revolutions is an extravagant, subversive, audacious, thrilling work that demands to be seen, as there’s still much to be learnt from this queer retelling of history.” — MusicOHM

    “an Avant Garde production discussing discrimination, sexual liberty and gender diversity within the LGBTQIA+ community. […] this show offers a lot for viewers keen to experience something stylistically innovative, powerful and uplifting.” — London Theatre Reviews

    “Musically it’s a delight from start to finish and the music underpins this show, allowing the narrative to glide and slip, occasionally veer off the road completely, but ever-present, ever-changing selection of musical styles and superbly played instruments brings it firmly back on track.” — GScene

    Image by Camilla Greenwell.

  • Residency at Yaddo

    Residency at Yaddo

    I’ve been awarded a 5-week residency at the Corporation of Yaddo, in Saratoga Springs, NY, which I’m undertaking through October and November. My studio is in the picture. It’s a beautiful time to be here — the trees in Fall are beautiful. I’m spending the time here working on a new opera to be produced next season. I’m very grateful to Yaddo for inviting me, and to the other artists and writers here for their company.

  • Denis & Katya announced at Theater Erfurt

    Denis & Katya announced at Theater Erfurt

    Theater Erfurt has announced its new production of Denis & Katya in the coming 23/24 season, The production of the german-language translation by Robert Lehmeier will be directed by Markus Weckesser, and will take place in the round in the Studio.Box venue. The premiere will be on 1st Feburary 2024. Tickets and further information is available here.

  • 4.48 Psychose announced at the Bayerische Theater-Akademie München

    4.48 Psychose announced at the Bayerische Theater-Akademie München

    The Bayerische Theaterakademie in Munich has announced a new production this coming autumn of the opera 4.48 Psychose (the german-language version of 4.48 Psychosis, in the translation of the Sarah Kane by Durs Grünbein). The production, directed by Balázs Kovalik and conducted by Maria Fitzgerald, will be a collaboration between Masters Students from the Theatre Academy August Everding and Munich Conservatoire of Music and Theatre. The premiere will be on 23rd October 2023 in the Reaktorhalle, with further performances on 25th, 27th and 29th October. Tickets and more information here.

  • Faggots and their Friends announced at Southbank Centre

    Faggots and their Friends announced at Southbank Centre

    Dates for The Faggots and their Friends Between Revolutions have been announced at London’s Southbank Centre, playing four shows in the Queen Elizabeth Hall on 25—28th January 2024. This music theatre show, made in collaboration with Ted Huffman, is based on the book of the same name by Larry Mitchell and Ned Asta. It premiered at HOME Theatre in the Manchester International Festival on 29th June, and had subsequent performances at Festival d’Aix-en-Provence and Bregenzer Festspiele. After the performances in London it will travel on to the other co-commissioning festivals, dates to be announced. Tickets for the Southbank Centre are available here.

    Photo: Tristram Kenton for Factory International.

  • Danish premiere of Denis & Katya in Aalborg and Copenhagen.

    Danish premiere of Denis & Katya in Aalborg and Copenhagen.

    Denis & Katya will have its Danish premier on Thursday 17th August (schools performance) and Friday 18th August 2023 (public performance) as part of the Aalborg Opera Festival. This is a brand new production by Kind Of Opera, created by director Selma Mongelard and creative producer Trine Heide. The production then moves to Copenhagen for more shows at the Folketeatret on 25th and 26th August. More info and tickets are available here: https://kindofopera.dk/projekter/deniskatya.

    The team is:
    Soprano: Katinka Fogh Vindelev
    Baritone: David Kragh Danving
    Celli Marie Louise Lind, Kirstine Elise Pedersen, Marta Gudmundsdottir, Mihai Fagarasan
    Musical Direction: Ian Ryan
    Director: Selma Mongelard
    Lighting design: Malte Hauge
    Sound design: Tommy Kamp Vestergaard (…who also produced the wonderful recording of My Favourite Piece is the Goldberg Variations)
    Producer: Trine Heide

    Photo by Allan Toft for Kind Of Opera.

  • Denis & Katya announced at Wiener Kammeroper

    Denis & Katya announced at Wiener Kammeroper

    On the same day as our wonderful premiere of Denis & Katya in Pittsburgh, Musiktheater an der Wein announced their new production of Denis & Katya to open their 2023/24 season at the Wiener Kammeroper. The production of the german-language translation by Robert Lehmeier will be directed by Marcos Darbyshire, featuring Hasti Molavian and Timothy Connor. The premiere will be on 27th September 2023. Tickets and further information is available here.

    I will also be leading a public masterclass with the performers on 3rd September. Tickets for that are available here.

  • 4.48 Psychose revival at the Semperoper Dresden

    4.48 Psychose revival at the Semperoper Dresden

    The Semperoper in Dresden has announced a third run of performances of 4.48 Psychose, postponed from 2021.  The opera had its german premiere run at Semper Zwei in April/May 2018, with sold-out performances.  The dates next season will be 16, 18, 21, 22, 25 and 26th March 2023, and tickets can be booked here.

    The 2018 production by Tobias Heyder, conducted by Max Renne, will feature Sarah Maria Sun, Karen Bandelow, Samantha Price, Sarah Alexandra Hudarew, Karina Repova, Tahnee Niboro and the Semperoper Projektorchester. Design is by Stephan von Wedel, light by Marco Dietzel, video by Benedikt Schulte and dramaturgie by Juliane Schunke.

  • Excellent reviews for Denis & Katya in Hannover

    Excellent reviews for Denis & Katya in Hannover

    The German premiere of Denis & Katya happened earlier this year, in a new german-language version of the opera, commissioned by the Niedersächsische Staatsoper in Hannover. The production took place in Ballhof Eins, and featured two singers from the young artists opera studio in Hannover, Weronika Rabek and Darwin Prakash, with cellists Reynard Rott, Gottfried Roßner, Clara Berger, Marion Zander, Killian Fröhlich and Gonçalo Silva. Direction by Ted Huffman, Music Direction by Maxim Böckelmann, Sound by Oliver Sinn and Markus Schwieger, Video by Pierre Martin, Design by Andrew Lieberman, Light by Bernd Purkrabek, Costume by Raphaela Rose and Dramaturgie by Regine Palmei. The german-language translation was made by Robert Lehmeier.

    Reviews have been very positive. Here are some excerpts, with machine-translations:

    “Es geht um Bildbeschreibungen und Annäherungen an die Wirklichkeit. Die Mezzosopranistin Weronika Rabek und der Bariton Darwin Prakesh als Journalistin und als Freund, als leicht hysterische Nachbarin und Teenager, als Arzt und Lehrer machen das so intensiv, dass Spannung entsteht. Philip Venables hat ihnen weitergehend tonale Partien geschrieben, die oft ein kantabler Sprechgesang sind. Untermalt wird das von einem Cello-Quartett, das Klangflächen liefert, aber sich auch steigert bis zu einer Elegie für junge Liebende: Totenklage für Solocello.” — Hannoversche Allgemeine Zeitung (HAZ)

    (“It is about image descriptions and approaches to reality. Mezzo-soprano Weronika Rabek and baritone Darwin Prakesh as journalist and as friend, as slightly hysterical neighbour and teenager, as doctor and teacher do this so intensely that tension is created. Philip Venables has written them further tonal parts, which are often a cantabile chant. This is underpinned by a cello quartet, which provides sound surfaces but also rises to the level of an elegy for young lovers: Totenklage for solo cello.” )

    “Da in dieser Produktion alles konzeptionell ineinandergreift und die Komposition so entstanden zu sein scheint, dass in Musik und Libretto sozusagen schon die Inszenierung angelegt ist, kann hier eine neue Form eines Gesamtkunstwerks etnstehen, die die Gattung Oper oder Musiktheater in die Gegenwart überträgt. Diese ganze Produktion ist als funkelndes Kleinod ein highlight im Spielplan der Staatsoper Hannover.” — Cellesche Zeitung (CZ)

    (“Since everything in this production interlocks conceptually and the composition seems to have been created in such a way that the staging is already laid out, so to speak, in the music and libretto, a new form of a Gesamtkunstwerk can emerge here that transfers the genre of opera or music theatre into the present. This entire production is a sparkling gem and a highlight in the repertoire of the Hannover State Opera.”)

    “Ganz am Schluss, in den letzten Minuten der Aufführung, entsteht dann so etwas wie eine elegische, langsamere Stimmung, die überhaupt erstmals den Raum für Konzentration und Empathie ermöglicht. Im Hintergrund sieht man eine aus einem Zugfenster auf eine Leinwand projizierte russische Landschaft vorbeiziehen. Dazu hört man Reflektionen der Hinterbliebenen. Es ist zu hoffen, dass die Produktion an möglichst vielen Schulen für Jugendliche, nicht nur in Hannover gezeigt werden wird. […] Das Publikum im Ballhof,  der kleineren Spielstätte des Staatsschauspiels in Hannover applaudiert lange den Mitwirkenden dieser eindrücklichen und  beklemmenden Produktion.” — Opera Online

    (At the very end, in the last minutes of the performance, something like an elegiac, slower atmosphere emerges, which for the first time ever allows space for concentration and empathy. In the background you can see a Russian landscape projected onto a screen from a train window. You can also hear reflections from the bereaved.  It is to be hoped that the production will be shown at as many schools for young people as possible, not just in Hanover. […] The audience in the Ballhof, the smaller venue of the Staatsschauspiel in Hanover, applauds the actors of this impressive and oppressive production for a long time.)

  • Denis & Katya announced at Finnish National Opera

    Denis & Katya announced at Finnish National Opera

    Opera Company Taite, Finnish National Opera and Musica Nova Helsinki have just announced their co-production of Denis & Katya on 8th, 10th, & 11th March 2023 at the Arminsali at Finnish National Opera, Helsinki. Opera Company Taite is making a new version of the opera in Finnish, for this Finnish premiere, directed and translated by Johanna Freundlich with light and video design by Janne Teivainen. The two performers will be Mari Palo and Ville Rusanen.

    Tickets and further information is available here.