“Music of supernatural poignancy, melodic but otherworldly, narratively urgent but poetically impressionistic" - The Guardian
I felt hugely honoured when I was asked to compose a new setting of Christ’s “Seven Last Words” for Easter this year. I also felt the weight of 500 years of tradition on my shoulders.
The emerging wave of anti-abortion laws sweeping through the US is the latest alarming sign that the fight for women’s bodily freedom is far from over. We were in the same position 100 years ago. Why hasn’t anything changed?
New pieces for Rough for Opera and the Cheltenham Music Festival, some old favourites in Cardiff and Rotterdam, plus the return of Dear Marie Stopes.
One of the most common questions I have been asked about Dear Marie Stopes is, “Why is Marie Stopes sung by a man?” It’s a good question. And there are two main answers.
The challenges of reconciling the different parts of Marie Stopes’ controversial character.
A new opera inspired by a controversial sex manual from 1918 and an extraordinary archive of private letters.
My first opera - Dear Marie Stopes
News: I workshopped my new piece for the Ligeti Quartet last week as part of the inaugural conference at The Centre for New Music at Sheffield.
Very excited to have been commissioned by the amazing Hermes Experiment to write a new piece for their upcoming concert at Cafe OTO in May.
News: I've written the music for an alternative production of A Midsummer Night's Dream at The Courtyard Theatre in Hoxton, London.
