Outstanding performers from the first year of Guildhall School’s Opera Course present classical and contemporary operatic excerpts with piano accompaniment.
Keywords: Guildhall School
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Outstanding performers from the first year of Guildhall School’s Opera Course present classical and contemporary operatic excerpts with piano accompaniment.
Outstanding performers from the first year of Guildhall School’s Opera Course present classical and contemporary operatic excerpts with piano accompaniment.
What does a future look like in which researchers aren’t just creating with artificial intelligence, but have also learned to copy people at the computer? This scenario was put forth by economist Robin Hanson in his book The Age of Em – Work, Love and Life when Robots Rule the Earth. Composer Zara Ali from Memphis, Tennessee is currently working on bringing Hanson’s physical-digital hybrids to the stage in what she describes as a sort of “spherical installation” that will place the audience in the perceptual world of these “Ems”. Together with author Hannah Dübgen, Ali is one of the three teams working on next-generation musical theatre for the seventh edition of the NEW SCENES. “We want to make something truly special, not the typical opera,” says the 28-year-old composer. Ali, who studied philosophy at Columbia University parallel to her musical education, frequently experiments with electronics, and works on interdisciplinary projects with string quartets and dancers – and now, for the first time, at an opera house. Huihui Cheng, who attended a school for musically gifted children in Beijing at the age of 14, is particularly interested in the performative potential of compositions. She refers to her past works as “theatrically expanded pieces of music”, such as “Me Du Ça” – part of a series on Greek mythology. Cheng worked with a designer to change the Medusa singer’s hair from snakes into tubes that can be played like flutes. Like Ali, Cheng is interested in technological advancements and the possibilities these bring to the stage. She recalls recently seeing a drone at an Offenbach opera, emphasising that the goal of such methods should be “to convey the beauty of the music and the eternity of emotions”. An opera like the Deutsche Oper Berlin, she says, offers the ideal conditions for exploring innovative approaches. Haukur Þór Harðarson, from Iceland and living in Berlin, co-founder of the composition collective Errata, thinks it’s exciting when New Theatre ...
What does a future look like in which researchers aren’t just creating with artificial intelligence, but have also learned to copy people at the computer? This scenario was put forth by economist Robin Hanson in his book The Age of Em – Work, Love and Life when Robots Rule the Earth. Composer Zara Ali from Memphis, Tennessee is currently working on bringing Hanson’s physical-digital hybrids to the stage in what she describes as a sort of “spherical installation” that will place the audience in the perceptual world of these “Ems”. Together with author Hannah Dübgen, Ali is one of the three teams working on next-generation musical theatre for the seventh edition of the NEW SCENES. “We want to make something truly special, not the typical opera,” says the 28-year-old composer. Ali, who studied philosophy at Columbia University parallel to her musical education, frequently experiments with electronics, and works on interdisciplinary projects with string quartets and dancers – and now, for the first time, at an opera house. Huihui Cheng, who attended a school for musically gifted children in Beijing at the age of 14, is particularly interested in the performative potential of compositions. She refers to her past works as “theatrically expanded pieces of music”, such as “Me Du Ça” – part of a series on Greek mythology. Cheng worked with a designer to change the Medusa singer’s hair from snakes into tubes that can be played like flutes. Like Ali, Cheng is interested in technological advancements and the possibilities these bring to the stage. She recalls recently seeing a drone at an Offenbach opera, emphasising that the goal of such methods should be “to convey the beauty of the music and the eternity of emotions”. An opera like the Deutsche Oper Berlin, she says, offers the ideal conditions for exploring innovative approaches. Haukur Þór Harðarson, from Iceland and living in Berlin, co-founder of the composition collective Errata, thinks it’s exciting when New Theatre ...
What does a future look like in which researchers aren’t just creating with artificial intelligence, but have also learned to copy people at the computer? This scenario was put forth by economist Robin Hanson in his book The Age of Em – Work, Love and Life when Robots Rule the Earth. Composer Zara Ali from Memphis, Tennessee is currently working on bringing Hanson’s physical-digital hybrids to the stage in what she describes as a sort of “spherical installation” that will place the audience in the perceptual world of these “Ems”. Together with author Hannah Dübgen, Ali is one of the three teams working on next-generation musical theatre for the seventh edition of the NEW SCENES. “We want to make something truly special, not the typical opera,” says the 28-year-old composer. Ali, who studied philosophy at Columbia University parallel to her musical education, frequently experiments with electronics, and works on interdisciplinary projects with string quartets and dancers – and now, for the first time, at an opera house. Huihui Cheng, who attended a school for musically gifted children in Beijing at the age of 14, is particularly interested in the performative potential of compositions. She refers to her past works as “theatrically expanded pieces of music”, such as “Me Du Ça” – part of a series on Greek mythology. Cheng worked with a designer to change the Medusa singer’s hair from snakes into tubes that can be played like flutes. Like Ali, Cheng is interested in technological advancements and the possibilities these bring to the stage. She recalls recently seeing a drone at an Offenbach opera, emphasising that the goal of such methods should be “to convey the beauty of the music and the eternity of emotions”. An opera like the Deutsche Oper Berlin, she says, offers the ideal conditions for exploring innovative approaches. Haukur Þór Harðarson, from Iceland and living in Berlin, co-founder of the composition collective Errata, thinks it’s exciting when New Theatre ...
What does a future look like in which researchers aren’t just creating with artificial intelligence, but have also learned to copy people at the computer? This scenario was put forth by economist Robin Hanson in his book The Age of Em – Work, Love and Life when Robots Rule the Earth. Composer Zara Ali from Memphis, Tennessee is currently working on bringing Hanson’s physical-digital hybrids to the stage in what she describes as a sort of “spherical installation” that will place the audience in the perceptual world of these “Ems”. Together with author Hannah Dübgen, Ali is one of the three teams working on next-generation musical theatre for the seventh edition of the NEW SCENES. “We want to make something truly special, not the typical opera,” says the 28-year-old composer. Ali, who studied philosophy at Columbia University parallel to her musical education, frequently experiments with electronics, and works on interdisciplinary projects with string quartets and dancers – and now, for the first time, at an opera house. Huihui Cheng, who attended a school for musically gifted children in Beijing at the age of 14, is particularly interested in the performative potential of compositions. She refers to her past works as “theatrically expanded pieces of music”, such as “Me Du Ça” – part of a series on Greek mythology. Cheng worked with a designer to change the Medusa singer’s hair from snakes into tubes that can be played like flutes. Like Ali, Cheng is interested in technological advancements and the possibilities these bring to the stage. She recalls recently seeing a drone at an Offenbach opera, emphasising that the goal of such methods should be “to convey the beauty of the music and the eternity of emotions”. An opera like the Deutsche Oper Berlin, she says, offers the ideal conditions for exploring innovative approaches. Haukur Þór Harðarson, from Iceland and living in Berlin, co-founder of the composition collective Errata, thinks it’s exciting when New Theatre ...
Quatuor Hermès, one of the foremost quartets of its generation, joined by Mathilde Caldérini on flute and Constance Luzzati on harp, pay tribute to three women composers born in the 19th century and too long overlooked.
Two Junior Guildhall ensembles – the Symphony Orchestra and String Ensemble – take to the stage to perform pieces by Nino Rota, Finzi, Strauss and Borodin.
Hear the transcendent Mozart Requiem, completed by Robert Levin and featuring four outstanding Guildhall singers as soloists.
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