Tête à Tête: The Opera Competition returns later this month with its visionary competition of latest opera, with occasions from 24 August to 29 September 2024, a month of important listening. The competition opens with Will Gardner and Matthew Inexperienced’s second opera The Prisoner (a work which gained the Stephen Oliver Award) on the Royal School of Music’s Britten Theatre. The rest of the competition is at The Cockpit Theatre, Marylebone except for Catherine Kontz’ 12 Hours at Kings School, London, which will probably be a 6-hour extract of a marathon 12-hour efficiency for voice and electronics.
Performers embrace eight returning artists and 17 groups who’re becoming a member of the competition for the primary time. Returning alumni embrace composer Will Gardner (with The Prisoner), mezzo-soprano Rosie Middleton (who performs in Catherine Kontz’s 12 Hours and Elif Karlidag and Sam Redway’s The Sport), and composer Edward Lambert who presents a double invoice The Parting / Buster’s Journey primarily based on the texts of Federico García Lorca.
Different highlights embrace Man Harries’ QueerLove, a celebration of LGBTQ+ relationships by means of the medium of the love letter, Frank Horvat and Stacie Dunlop’s Letters, a solo efficiency exploring a troublesome relationship with a troubled dad or mum, Josh Kaye, Hestor Dart, and Amy Kearsley’s You Cannot Kill the Spirit, primarily based on the testimonials of feminine activists of the Nineteen Sixties and impressed by the 1982 human chain round Greenham Widespread, and Madeleine Brooks’ I Shot Mussolini, a real story led by the direct descendant of Violet Gibson, who very practically single-handedly modified the course of the 20 th century.
Visiting productions from abroad embrace Vicky Nizri and Cristina Pardo’s A Lifetime of One’s Personal, an opera from Mexico in regards to the story of a younger lady migrating to construct a life for herself, that includes Sephardic music, porte renaud’s Andrias Scheuchzeri, an ecological science-fiction mission from France, Margarida Gonçalves’ The Acts of Brízida Vaz, impressed by famend Portuguese poet and playwright Gil Vicente and rooted in Portuguese custom and Gaia Aloisi and Fabrizio Funari’s Aqua Tofana, an Italy-UK co-production centred on seventeenth Century apothecarist Giulia Tofana’s deadly liquid invention.
Rendevous with Revenge includes a triple invoice, initially written as a part of the Royal Academy of Music Opera Makers mission, with music and phrases by Sarah Marze, Yan Ee Toh, Adam Zolty, Ade Bademosi, Noah McCreadie, and Philippa Lawford.
Full particulars from the competition web site.
