Opera And Song Texts
I started writing opera texts as a child. They were dreadful, but I’ve got better since then. I’ve now had work performed at the Wigmore Hall, the London Transport Museum, and the Guildhall School of Music and Drama, where I trained.
I’ve written operas about (among other things) hummingbirds, vampires, and Macbeth falling in love with a camel, as well as entirely abstract pieces. I’m currently working with several PhD composers to explore their research on illusion, queer performance, and density. I’ve also done some translation work from German, Italian, and Icelandic.
What’s my process like?
When I start work on an opera, I always ask myself ‘why are they singing? Intense emotions, to symbolise political relations, to open a higher plane of experience, or something else? Why is this better as an opera, not a play or novel?’
This means I have to find a unique style for each work, to suit the answer to that question. From there, I can build a world. It also means I spend a lot of time talking to the composer, making sure that my words will fit their musical style and vice-versa.
In short, my process is teamwork, philosophy, plus ‘this bit sounds beautiful; I don’t know why’.
“Great and inviting. Also very playful and fun.”
- Audience feedback,
“Simple yet solid”
- Guildhall Assessment,