Short film reveals Eye to Eye project coming to life
Back in September we put a call out for mothers and their children, women and young people to take part in a new Brighton Festival commission. Created by theatre-maker Sheila Hill, in partnership with Glyndebourne, a chorus of 80 local singers has now been recruited, with more auditions to come in January, to bring the total to 100 voices!
This short film by Hugo Glendinning was made at the launch weekend and gives an insight into Sheila’s inspiration for the piece which explores the two parallel stories of motherhood and childhood. Chorus Master Jo Tomlinson and composer Howard Skempton also discuss how they’ve approached the project musically.
Singers sought for new choral work as part of Brighton Festival 2019
Brighton Festival and Glyndebourne are bringing together an intergenerational chorus of women and children for a new choral work in Brighton Festival 2019.
The piece will will focus on the nature of motherhood and childhood, and will be conducted by Sian Edwards. We are looking for singers to bring this piece to life and we will be auditioning in the following age brackets:
Glyndebourne Youth Opera 1 (aged 9-13)
Adult female voices (aged 21 or over)
Family groups are encouraged to apply as this work is an exploration of the relationship between mothers (of any age) and their children and grandchildren.
How to Take Part
Auditions will take place on Sunday 30 September at Glyndebourne. You will audition in small groups and are not expected to prepare any material in advance, although you will be asked to sing briefly on your own at some point during the audition.
Dates and Times
If you are successful you will be expected to attend all rehearsals and performances.
Sun 30 Sep: 10:00 – 16:00 Auditions – Glyndebourne
Sat 27 Oct: 10:00 – 16:00 Project Launch Weekend TBC
Sun 28 Oct: 10:00 – 16:00 Project Launch Weekend TBC
Rehearsals: March – May – download a full project schedule below
Performance: May (as part of Brighton Festival)
Head to www.glyndebourne.com/education/take-part/eye-to-eye/ to download a project schedule and sign up.
Image credit: James Bellorini
5 things you didn’t know about Brighton Festival Chorus
We caught up with Brighton Festival Classical Programmer and long standing member of the Brighton Festival Chorus, Gill Kay to find out more about the prestigious choir...
- Brighton Festival Chorus was formed to sing in Brighton Festival in 1968, the second Brighton Festival ever. At the time there was a Hungarian musician who was working at the old Gardner Centre at the University of Sussex. He was quite well known as a chorus master, a man named Laszlo Heltay.
The festival approached Lazlo and asked whether he would form a chorus especially for the Brighton festival next year, as they wanted to put on a piece by William Walton as part of the programme. He agreed and auditioned a whole load of people and formed the BFC. He trained them to sing, and for their first ever concert in 1968 they sang William Walton’s Belshazzar's Feast. William Walton was still alive at this point, so he himself conducted. It was such a success, and the chorus were so brilliant under Lazlo’s directorship, that since then, Brighton festival chorus has performed at every single Brighton festival since.
Arguably Lazlo himself is the reason why BFC became so popular in the first place. He still ran the chorus when I first joined in about 1985 and he absolutely terrified me, he was terrifying, but he was brilliant. He would do things like move people around mid-rehearsal. When he did, it would sound like a completely different section. He just had a brilliant ear. He understood how to fine tune the big choral sound that over 100 singers can create.
- Brighton Festival Choir is very traditional in terms of its sound, and are brilliant at traditional British repertoire. The other thing that I think the BFC is excellent at is singing incredibly quietly. It really is the most exciting thing when one moment you’re listening to a 140-person strong wall of sound sing as loudly as they can, and the other to 140 people singing incredibly quietly. It’s pure magic. There is a certain quality that 140 people singing quietly has. It’s something other than just the volume, it creates a presence in the room, in the sound… It’s quite hard to explain
- In 2006, we performed Tavener’s three-hour long The Veil of the Temple with no interval. We took all the seats out of the Brighton Dome Concert Hall and had staging in the middle. It’s the most complicated score! Tavener has got specific parts for different areas of the concert hall. So, we had singers stationed at a north point, a south, west and east, and then on the central bit there was an 8-foot Tibetan horn on it, alongside temple bowls and a duk duk.
At the end of this piece – bearing in mind that this had already gone on for three hours nonstop – Tavener writes that another 500 singers to enter from all doors in the auditorium and come in and join for the last twenty minutes in a kind of Persian chant. We managed to get a whole load of choirs to join, about another 300 singers. At the end everyone just walked off singing this chant and disappeared into the bar. The audience were clapping and clapping. Tavener himself was there, and he walked on stage and the applause went on for about 15 or 20 minutes, it was phenomenal.
- We performed the War Requiem on Saturday 12 May as part of Brighton Festival. It is a requiem Mass, with some traditional Latin singing interspersed with Wilfred Owen war poetry. We wanted to make our version of the War Requiem quite unique by combining a French orchestra and a British orchestra and our chorus and the two soloists. We performed the War Requiem across Northern France in the last 25 years quite a few times, so in a way, this relationship that the chorus has got with northern France is really quite special.
- We'll be performing Belshazzar's Feast on Sun 27 May at 7.30pm. It's a particularly special one because not only is it is the 50th anniversary of the BFC, but it is also the 50th anniversary of that song. We have even booked the same Orchestra - The Royal Philharmonic Orchestra - who played with us in 1958! We want to emphasise where BFC started, and celebrate where we are today.
Programmer Picks: Brighton Festival Classical Music
There's something to suit everyone's tastes in this year's eclectic Classical music programme. Gill Kay, classical programmer and long standing member of the Brighton Festival Choir picks out four of her favourites.
Chopin’s Piano is the premiere of a project devised by Paul Kildea. Chopin spent some time in Majorca recovering from illness. During this time, he composed his Preludes. The piano that he composed on also started quite a journey of its own. This instrument's story is simply extraordinary and is brilliantly brought to life by expert Paul Kildea alongside exceptional pianist Cedric Thibergien. The Royal Pavilion is such a special venue and being able to listen to chamber music in the Music Room is always a treat. We hope you will be able to join us as we create our own ’salon’ to take you on this unique journey.…..
Belshazzar’s Feast really is a musical feast and if you like drama this is the concert for you! The music is loud, exciting, jazzy, dramatic and one of the most amazing pieces to see performed live. The piece requires so many players and singers I'm really not sure how we're going to fit everyone onto the Dome stage! In addition to the huge orchestra and chorus, there are two extra brass bands which will be positioned in the circle. Hopefully they'll give the audience a real ‘surround’ sound experience. When everyone is singing and playing together the sheer volume actually shakes the building. It’s such a great ‘story’ piece and perfect for Brighton Festival Chorus to celebrate their 50th birthday year.
This series is always one of my personal favourites in the festival. It’s the moment that we get a chance to showcase young performers that we have found throughout the year. These artists come from music competitions and conservatoires. Some are still at college, and others are in the first year or so of their professional lives, but that’s what makes each year so exciting and different! This year we have a really unique mix featuring, in particular, lots of female performers and composers. This year is our most eclectic series to date, including an early music group from France, two string quartets - one from the Chineke orchestra and another from the BBC New Generation Artists Scheme - as well as two award winning solo pianists! I cannot think of a better was to spend a lunch hour!.
Continuing on with our concerts in All Saints, and further developing our relationship with French artists, this year’s ‘left field ‘ concert comes from players based in Lyon. This group, made up of violin, piano, accordion and bass, create a traditional sound reminiscent of a small smokey Parisian basements with Gauloises, Pernod and groups of friends gathered round tables. Pretty much exactly how it was when I first heard them! This is one not to be missed……
Spotlight: Calixto Bieito: The String Quartet’s Guide to Sex and Anxiety
In a co-commission with the Birmingham Repertory Theatre and Holland Festival, the Brighton Festival presents The String Quartet’s Guide to Sex and Anxiety.
In this exciting production, the tempestuous relationship between sex, anxiety and music is explored and examined by one of Europe’s most exciting theatre directors, Calixto Bieito.
Music and drama collide as the award-winning string powerhouse The Heath Quartet perform alongside an equally stunning quartet of actors to deliver an unmissable montage of melody and madness. These eight artists will take you on a journey through time to explore how our innermost thoughts battle with our artistic impulses.
Spotlight: Cuckmere: A Portrait
Discover more about Cuckmere: A Portrait, a Brighton Festival Co-commission.
For centuries the Cuckmere River has inspired artists, sheltered smugglers and preserved a host of rare habitats and wildlife as it charts a course through some of the most evocative landscapes in southern England.
In a work of beauty and eloquence, the filmmaker Cesca Eaton and the composer/conductor Ed Hughes trace the changing moods of the Cuckmere river, from its source in the Sussex Downs to its dramatic twists and turns as it meanders to the sea at Cuckmere Haven. The score, specially composed by Ed Hughes, is played live by The Orchestra of Sound and Light in this world premiere.
In photos: Week 3
Brighton Festival 2017 is over! We can't believe what a fantastic month it has been – here's a few photos from events in the last week
Photos by Vic Frankowski and Adam Weatherley
Star of The Gabriels actor Maryann Plunkett announced as narrator of Copeland’s Lincoln Portrait for Brighton Festival finale
Britten Sinfonia and Brighton Festival Chorus bring Brighton Festival 2017 to a resplendent close with Aaron Copland's rousing Lincoln Portrait, alongside John Adams's glittering symphony, Harmonium.
We're delighted to announce that our narrator will be actor Maryann Plunkett, who plays Mary Gabriel in Richard Nelson’s trilogy The Gabriels, which has garnered a clutch of five-star reviews since its Brighton Festival UK premiere last weekend.
In 1942, shortly after the USA entered WW2 Copland was commissioned to write a work to fortify and comfort people during the time of national distress. The resulting Lincoln Portrait is a stirring setting of extracts from great speeches made by Abraham Lincoln, including the Gettysburg Address.
Other famous narrators have included the likes of Neil Armstrong, Alec Baldwin, Tom Hanks, Katharine Hepburn, and Barack Obama.
Maryann Plunkett also played Barbara in Richard Nelson’s The Apple Family Plays (Brighton Festival 2015), while her Broadway credits include Agnes of God, Sunday in the Park with George and Me and My Girl (for which she received a Tony Award).
Britten Sinfonia and Brighton Festival Chorus are at Brighton Dome Concert Hall on Sun 28 May, 7.30pm
Belem: a lyrical melange of merriment & melancholy through interwoven folk, tango & classical traditions
Joe Fuller previews the pioneering spirit of the cello-accordion duo ahead of their Brighton Festival debut
The rhythmic momentum of Didier Laloy's accordion and Kathy Adam's cello in Belem should make for a rousing late night gig. The duo performed together in European folk band Panta Rhei, so this concert is of interest to those interested in world music, folk and tango as well as classical music fans, and the unique interplay of the two musicians should flourish in a live setting. I'll highlight some of the best moments from Belem's music below to explore the musical possibilities in this idiosyncratic fusion of poignant jollity.
The video below highlights the differences between the two musicians' styles. Kathy Adam is mostly classical focused in her recordings and performances, although she has also worked in theatre, dance and song. Adam often seems to provide the classical heart of the works, whereas Didier can come across as almost mischievous at times, the jester to Adam's bard. Personally, I like it when the two meet in a more plaintive mode, such as the ponderous playing around the three minute mark in this clip of Le puits, romaniste.
The melodic lines are closer to pop than classical in their occasional major resolutions, such as in album highlight Scampavita, the track which comes closest to traditional chamber music. The rhythms in their work are often folky however, conjuring images of storytelling, ales, jaunts, and energy to me, with a tinge of role playing video games fantasy about them too. There is also a tango lilt to proceedings that the more lithe in the audience might enjoy, and some parts even sound like sea shanties (such as parts of Le puits, romaniste) so there is certainly a wide spectrum of moods to absorb in the show.
Belem should be praised for trying something new in the context of chamber music, which often focuses on string quartets. More attention is inevitably directed towards individual melodies and performing styles in chamber music, as opposed to the kaleidoscope of an orchestral concert, which can result in more moving, intimate concerts. One of my most memorable classical shows was Huw Wiggin's saxophone and James Sherlock's piano in a 2015 lunchtime Festival concert, when technically challenging pieces and virtuoso playing took my breath away. Belem's show therefore might be a good choice for classical fans who might want to hear different tones, moods and colours in a concert than what they might be used to.
Live reviews have been positive, noting that the audience has responded to melancholic elements, and the vocal quality of the cello playing. The terms poetic and tender have also been used, suggesting that years of playing together have ensured that Laloy and Adam know how to grab an audience's attention in a delicate, emotive way, which is an impressive achievement considering how loud the accordion can be. It's a novel proposition to explore the tender qualities of the accordion in fact, such as in the more downbeat track Valse Noire where Laloy provides a soft, mournful underpinning to Adam's pining cello, resulting in a brighter Max Richter-type drone around the 2 minute mark.
I wouldn't be surprised to find such a duo at a smaller, rowdier venue such as The Bee's Mouth or Komedia's Studio Bar, but the picturesque All Saints Church could emphasise the more poetic aspects of the duo's refreshing collaboration. The charismatic and energetic performers should find a receptive audience in the artful, bawdy eclecticism of a Brighton Festival crowd keen to hear something new.
An exclusive concert celebrates the luminous music of Monteverdi for voice and orchestra
Hearing a sublime singer has always been one of the most thrilling live experiences, in both popular and classical music. The concert with Les Talens Lyriques with Christophe Rousset at this year's Festival, showcasing works by Monteverdi, is a fine opportunity to hear the musical voice as pioneered by the highly influential 17th century composer.
Les Talens Lyriques will have just performed the works in Holland with the Dutch National Opera in the week preceding this concert, so a lot of thought will have gone into the action and drama of the pieces. This show is the only time to hear them perform this work in the UK this year: this is therefore an exciting gig on many levels, be it for the chance to see an in-demand conductor in Brighton, to celebrate the work of a magnificent composer in his 450th birthday year, to hear a rare combination of Monteverdi's works, or to see an internationally lauded ensemble in Brighton Dome's Concert Hall perform some stunning music.
The concert will feature a combination of singers and musicians without any operatic staging, which gives a clear musical focus to the performance and gives you the chance to hear some superb singers without the often intimidating cost of the opera hall. The bill is a selection of madrigals, which is a fascinating form in musical history. A madrigal is a secular vocal composition for a number of different voices, and Monteverdi strove to illuminate every shade of emotion in the poetic works by introducing music to the form (early madrigals were a capella).
You don't have to be a historian or musicologist to appreciate the concert however, just try any of my Spotify playlist to sample some of the beautiful music you'll get to hear. I've selected a punchy, fast-paced Il combattimento di Tancredi e Clorinda, because I love how the pace can hurtle along (like it does around the 6.50 mark) and then crawl down into mournful tones with a drone-like backing. It's irresistibly gorgeous, but the riveting twists and turns might take a few listens to unpack for anyone unfamiliar with early music.
You can then switch from the tragic tale of Tancredi mistakenly killing his lover Clorinda in Il combattimento to the more danceable, sprightly Il ballo delle Ingrate, which shimmers with a prominent harpsichord and decadent orchestration. Il ballo is beautiful in a more lustrous, languid and opulent manner to Il combattimento, and I've included a link to a sharply recorded version that handily breaks up all of the smaller movements to give you a taste of the diverse short bursts of the whole piece. The Overture alone is expansive and enveloping, and directly melodic in the bold way that early music can be: immerse yourself in it now to reap the musical rewards on the evening.
Lamento d'Arianna meanwhile sounds more aria-like than the other works, rendered all the more sparsely striking in Anne Sofie von Otter's performance on the playlist. The fragment from a lost opera is imbued with the grief of Arianna who longs for death in words non-Italian speakers might not understand, but the powerful, emotive vocal part is devastatingly moving regardless.
Musical Director Christophe Rousset is a renowned harpsichordist and conductor, who will conduct the upcoming production of early Mozart opera Mitridate, re di Ponto at the Royal Opera House in the summer. You can hear him conduct Les Talens Lyriques performing the work via this Spotify link if you want to hear if Rousset and his ensemble play to your liking!
Whether you're a classical muso or a music lover of any stripe, this concert presents a highly affordable opportunity to hear some of the earliest, most moving writing for voices ever composed, performed by some of the world's best singers and musicians. The works will have been carefully honed over six performances with the Dutch National Opera in the week before the Brighton gig, and it will be thrilling to hear the fresh interpretations that Les Talens Lyriques will bring to the Concert Hall.
Words by Joe Fuller
Spotlight: Brighton: Symphony of a City
Discover more from Lizzie Thynne and Ed Hughes, as they discuss Brighton: Symphony of a City
One of the Brighton Festival events people still talk about is the screening of Battleship Potemkin (2005) with Ed Hughes’s new score in the Hove Engineerium. When Ed and Brighton based filmmaker Lizzie Thynne proposed a Brighton homage to Walther Ruttmann’s 1927 silent classic Berlin: Symphony of a Great City, we grabbed the opportunity to celebrate Brighton in all its festive, bohemian, campaigning, fun-filled glory.
See more Spotlight films, where we cast a spotlight on some of our special commissions and co-commissions in our milestone 50th Brighton Festival.
Video by Catalina Balan with Neil Whitehead
Brighton Festival 2015 soars to a close
Brighton Festival 2015 - with award-wining author Ali Smith at the helm as Guest Director - came to a soaring conclusion this weekend.
Over the three-week Festival - the biggest and most established in England - many of Ali Smith’s ideas, interests and passions were explored in a thrilling selection of events which spanned music, theatre, dance, visual art, film, literature and debate featuring artists and performers the world over from Ukrainian ‘ethnic chaos’ band DakhaBrakha to the newly Palme d’Or honoured filmmaker Agnès Varda.
Three central themes - Art and Nature, the Crossing Places between art forms, and Taking Liberty - provided a fascinating jumping off point to explore some of the key ideas and issues of the moment as well as a memorable visual image of a swift in flight which proved a fitting and popular emblem for the 2015 Festival.
The opening weekend asked audiences to ‘take flight’ for the annual children’s parade, the largest of its kind in Europe. Supported by regional businesses Class of their Own, Gatwick Airport and Riverford, the annual parade traditionally marks the start of Brighton Festival and was attended by almost 5,000 children from 83 schools and community groups from across the region; each dressed in costumes they had specifically designed and made for the event. Taking inspiration from Brighton Festival 2015 Guest Director Ali Smith’s deep fascination with birds and other migratory patterns, costumes included bird life in all its forms as well as flying machines, creatures from fantasy and fable, bugs, bees and butterflies.
The Children's Parade. Photo by Jordan Hughes
During the ensuing 23 days it wasn’t just the kids who took flight – with more reviews praising the artistic excellence of this year’s programme than ever. One of the Festival’s biggest hits was the European premiere of Tony award-winning playwright Richard Nelson’s highly acclaimed four play cycle The Apple Family Plays from The Public Theater, New York which was lavished with 5 stars across the board. Glowing reviews in The Guardian, The Stage and the artsdesk amongst others described them as “exemplary”, “extraordinary”, “profound” and “faultlessly directed”. This was swiftly followed by the top accolade going to violinist Isabelle Faust’s amazing feat of solo virtuosity, Paine’s Plough’s poignant exploration of love and relationships in Lungs and Nina Conti’s extraordinary tour de force of improvised comedy amongst others.
Fleeting on Brighton Beach. Photo by Chris Bethall
At just under 400 performances across 150 events, including 34 that were entirely free to the public, Brighton Festival 2015 featured the highest number of exclusives, premieres and commissions to date including a sizeable proportion of events that cannot - and could not - be experienced anywhere else outside of Brighton Festival, from Sam Lee’s intimate Nightingale Walks on the Downs to Laurie Anderson’s one-off concert All the Animals and Festival finale Fleeting, the spectacular installation over the West Pier by And Now in which hundreds of individual points of fire created shapes and swathes of glowing light and shade.
In a continuation of the Festival’s dedication to making the arts accessible for all, 2015 saw a plethora of shows - including high profile events such as physical theatre show The Spalding Suite which takes as its subject the UK's basketball sub-culture and Jess Thom’s inspiring and uplifting exploration of her experience of living with Tourette’s, Backstage in Biscuit Land - live-streamed to audiences around the world, for free. Brighton Festival also reached out beyond the centre more than ever before, working with Without Walls to present a number of family-friendly performances in Saltdean and Woodingdean for the first time as well as the enthralling 451 at Preston Barracks and playful Ear Trumpet in Queen’s Park. This was complemented by a fantastic response to community driven events such as a new children’s birdwatching trail which was generously embraced by the business community, and the return of the Guest Director’s Guests, the Peacock Poetry Prize and the Young City Reads schemes.
Backstage in Biscuit Land. Photo by Victor Frankowski
Other Festival highlights included a one off live screening of Peter Strickland’s daring masterpiece The Duke of Burgundy; the English premiere of Vanishing Point & National Theatre of Scotland’s The Beautiful Cosmos of Ivor Cutler, a homage to one of Scotland's most likeable, most individual and most unexpected 20th century figures; a new lecture specially commissioned for Brighton Festival by acclaimed author Jeanette Winterson OBE on the practices and craft of writing; and the UK premiere of The Forgotten / L’Oublié(e), the directorial debut of Raphaëlle Boitel, one of the most remarkable performers on the European visual and physical theatre scene.
Brighton Festival 2015 featured 396 performances across 150 events including 45 exclusives, premieres and commissions and 34 free events.
Andrew Comben, Chief Executive of Brighton Dome & Brighton Festival says: “From the 5 stars across-the-board success of Richard Nelson’s extraordinary Apple Family Plays to the headline-grabbing performance of Kate Tempest and a very special personal appearance by newly Palme D’Or honoured Agnes Varda - this year really has been a Festival to remember. Ali Smith, as Guest Director, has been an absolute pleasure to work with and a wonderful inspiration to us all. Her remarkable sense of possibility, wonder, imagination and excitement at anything that she encounters has been evident every step of the way, from her invaluable input during the programming process to her lively and engaging presence throughout the month. The Festival’s continued ability to not only bring such an eclectic range of artists onto one bill but to make it a resounding success, is testament to the extraordinary support we have from funders, sponsors and from audiences themselves. It’s an exciting time for Brighton Festival as we look towards our 50th birthday next year. I cannot wait to lift the lid on what surprises we have in store for the city and beyond.”
Director Susannah Waters on Being Both...
Being Both is an original production commissioned by Brighton Festival, directed by Susannah Waters and starring renowned mezzo-soprano Alice Coote. Inspired by Handel’s ‘bravura, amazing, profound’ arias and his ‘incredible compassion for human foibles’, Being Both curates the richest moments from Handel’s repertoire, in order to explore the complexities of gender in a modern context.
The production brings together vocals from Alice Coote, the world-class English Concert Orchestra led by Harry Bicket, and visual references from Ali Smith’s book How to be Both in a beautiful and thought-provoking meditation on what it is to be male, female and everything in-between.
We chatted to Susannah about the complexities of gender, her love affair with Handel, and how the orchestra in Being Both will be part of the action.
Susannah Waters on…
…The role of gender in Being Both
“Really, what we’re doing is trying to explore the whole hugely complex subject of gender and the world as it is today and how we’re affected by our own sense of gender: how masculine or feminine we feel we are and if that is a bit of a mismatch with how we’re meant to be, or how our job asks us to be. Also, very much thinking about how an audience sitting in a theatre is affected by gender: by someone’s costume, or the way they look and if someone costumed like a man is singing those words. If someone who has the appearance of a woman is singing those exact same words, they’re very different and they have very different connotations, even if it’s the exact same text.”
“All the music is by Handel which is, of course, the best starting point in the world. I keep saying to Alice that there are some arias that are almost unbreakable in terms of the director screwing them up, or anyone screwing them up. They’re like Shakespeare: there are some pieces in the world that you can do almost nothing bad to, because they are infinitely playable and so full of richness. So we’ve got quite a lot of those really bravura, amazing, profound arias in the piece. Harry Bicket was saying yesterday, it’s kind of the greatest hits of Handel that we’ve collected. It’s really, actually, the pieces that Alice and I really wanted to explore and she wanted to sing.
He’s much above in terms of humanity, and understands everyone’s weaknesses and strengths and courage. For me, that fluidity is in his music; that compassion. He was very much a theatre maker. Like Shakespeare, he would nab a bit of music from that thing he’d written twenty years ago, and put it in this bit. A lot of the pieces were very piecemeal: recycling bits of music, recycling bits of ballet and sticking it here, and turning that into an aria. You never feel that it’s just kind of, lazy un-thought through music. He was very much a man of the theatre. He felt happiest in that theatrical milieu, in the middle of all those people that create an opera.”
…On working with Harry Bicket and the English Concert Orchestra
“I’m such a fan of this orchestra. I’ve gone to see them in concert, doing concert performances of operas. The last time I saw them, doing Alcina at the Barbican, it was an amazing line-up of singers, but I spent a lot of my time watching the orchestra, because they are so engaged when they play. Sometimes you go and see orchestra concerts and the orchestra look a bit jaded, they look a bit kind of ‘another show’. The English Concert Orchestra are just in their bodies, they’re so with the music, so in our show they’re very much onstage. I’m bringing forward some of the soloists to the forestage to be part of the action with Alice. I really wanted them to be an equal part of the visual show, so they are very much there on stage. They’re just fantastic, for me they’re my favourite Baroque orchestra around – just amazing players.”
In Photos: Brighton Festival Week One
Our 49th Festival with Ali Smith at the helm has been a joy so far. We've had heaps of fun and with a plethora of great theatre, circus, dance, music, classical, outdoor, family, books and debates and visual art and film events still to come the fun is nowhere near over yet!
Take a look back over our first week of Brighton Festival 2015 right here...
Brighton Festival 2015 announces full programme of events
Clear your diaries in May as England’s largest mixed arts festival returns with award-winning author Ali Smith as its Guest Director
Brighton Festival – under the watchful eye of award-winning author Ali Smith as this year’s Guest Director – has announced its full programme of events.
Over the three-week Festival - which runs from 2-24 May 2015 - many of Ali Smith’s ideas, interests and passions will be explored in a programme which spans music, theatre, dance, visual art, film, literature and debate from a wide range of national and international companies and artists; from a rare UK visit by 86-year-old legendary film maker and artist Agnès Varda to rising stars Kate Tempest, George the Poet and Hollie McNish.
With three central themes at its heart - Art and Nature, the Crossing Places between art forms, and Taking Liberty - this year’s Brighton Festival challenges visitors to look again, featuring an eye-opening array of artists and performers with the power to deliver the world we think we know to us re-seen, renewed, with a visionary twist in the tale.
Ali Smith says: “It's tremendously exciting to have been asked to help programme the 2015 Brighton Festival. I'm delighted and honoured – what a gift, to be asked to do this, imagine – the biggest international multi-arts spectacular in England. I've always loved Brighton's sense of fun and friendliness, its vibrant open-mindedness, the way it opens to sky, the way the rest of Europe is so close it's almost visible. It's a city that's always known how to live on the edge, a place full of endless energy, argument, possibilities, light. No matter the wildness or mildness of the weather, no matter the zigzag of zeitgeist elsewhere north or south of it, Brighton is always itself, and always uniquely welcoming.”
Posing questions about whether life imitates art or art imitates life, Art and Nature is explored in a host of events including an exclusive nightingale walk, with Mercury-nominated folk singer Sam Lee; an immersive multi-screen film installation of Marcus Coates’ entitled Dawn Chorus, featuring singers who uncannily recreate birdsong and bird movement; a discussion of the urgent conservation issues that face us today with celebrated author and bird enthusiast Margaret Atwood and her partner and fellow writer Graeme Gibson; and Fleeting, an outdoor spectacular over the West Pier by And Now, in which hundreds of individual points of fire create shapes and swathes of glowing light and shade.
Central to the programme is the notion of Crossing Places - where poetry meets music meets theatre meets dance – from works that defy categorisation such as The Measure of All Things, a new live cinema performance by Academy Award-nominated filmmaker Sam Green to Claudia Molitor’s part installation part performance Vast White Stillness in the maze of tunnels beneath the Old Ship Hotel. In Being Both, acclaimed mezzo soprano Alice Coote, English Concert’s Harry Bicket and Susannah Waters stage a theatrical journey into the heart of Handel’s sublime vocal music, which, in a nod to Smith’s own prize-winning work How to Be Both, explores and challenges the experience and perception of gender.
Set against the backdrop of the General Election, Liberty, equality and freedom is celebrated in all its shapes in an astonishing cutting-edge line-up of artists, performers, thinkers and commentators - all contemporary game changers in their chosen forms. These include Liberty Director and author Shami Chakrabati who hosts an evening in celebration of the Human Rights Act featuring a dazzling collection of writers and performers such as Billy Bragg, Neil Bartlett, Rachel Holmes and Jackie Kay; Tony award-winning playwright Richard Nelson who brings the European premiere of his highly acclaimed four play cycle The Apple Family Plays from The Public Theater, New York; award-winning Pakistani/British author Kamila Shamsie; celebrated Russian-American journalist, author and activist Masha Gessen, Turkish writer Elif Shafak and Turner Prize nominated artist Nathan Coley, whose new commission Portraits of Dissension explore ideas of unrest, edge and shift, space and occupation.
Other highlights include Peter Strickland’s daring masterpiece The Duke of Burgundy accompanied by a one-off live performance of its seductive score by Cat’s Eyes - the collaborative project of The Horrors’ frontman Faris Badwan and Italian-Canadian singer and composer Rachel Zeffira; a series of screenings and accompanying talks by prominent female directors including Joanna Hogg, Carol Morley and the legendary Agnès Varda who will also create a special installation at Brighton University Gallery for the duration of the Festival; the English premiere of Vanishing Point & National Theatre of Scotland’s The Beautiful Cosmos of Ivor Cutler, a homage to one of Scotland's most likeable, most individual and most unexpected 20th century figures; a new lecture specially commissioned for Brighton Festival by acclaimed author Jeanette Winterson OBE on the practices and craft of writing; the UK premiere of Lucia’s Chapters of Coming Forth by Day, a theatrical ode to the life - and afterlife – of Lucia Joyce, the adored daughter of James Joyce created by legendary New York theatre ensemble Mabou Mines; the UK premiere of The Forgotten / L’Oublié(e), the directorial debut of Raphaëlle Boitel, one of the most remarkable performers on the European visual and physical theatre scene; and Laurie Anderson: All the Animals, a specially curated performance by one of America’s most daring creative pioneers.
Andrew Comben, Chief Executive of Brighton Dome & Brighton Festival says: “Ali Smith, as Guest Director this year, has been a wonderful inspiration to us all in programming the festival. In her writing, Ali is renowned for pushing form and working with her has taught us to think differently about how we programme and the work that we bring. She has also brought an incredible range of artists to the festival who are responding to the world in a particular way, both people she knows well, and also people she has loved for many years and perhaps longed for an opportunity to work with - from Agnès Varda to Elif Shafak, Jeanette Winterson, Margaret Atwood and Mabou Mines - the list is long and extensive and I think thrilling. I look forward to welcoming audiences to experience another exciting and innovative month of events in May.”
The annual celebration of music, theatre, dance, circus, art, film, literature, debate, outdoor and family events will take place in venues across the city and beyond from 2 to 24 May 2015. Brighton Festival 2015 features 396 performances taking place across 150 events including 42 exclusives, premieres and commissions.
Brighton Festival on BBC Radio 3
Listen again to Ailish Tynan and James Baillieu on In Tune
Ahead of their intimate Brighton Festival performance at All Saints Church on Wed 15 May, opening our series of intimate concerts celebrating French chamber music, hear soprano Ailish Tynan and pianist James Baillieu perform some beautiful songs by Poulenc and Hahn for BBC Radio 3's In Tune.
A must listen.