Artistic Vision

The operatic canon, as it is currently performed, represents only a fraction of the works created within it. My work engages with the rediscovery of historical repertoire and the development of new opera, shaped by the belief that rediscovery and creation are central to the continued vitality of opera.

My practice is shaped by an interest in how operatic works can be reinterpreted through a contemporary dramaturgical lens. I am particularly drawn to repertoire that invites re-examination: whether through the revival of neglected works, the development of new opera, or the adaptation of historical sources for contemporary performance.

Much of my recent work has centred on 18th-century opera, a repertoire that has often fallen out of circulation not through lack of artistic value, but through shifting historical and institutional priorities. These works offer the opportunity to present material that is both unfamiliar and deeply rooted in tradition.

In parallel, I am actively involved in the development of new opera. In collaboration with composer David Coleman, I am writing the libretto for a full-scale opera in advanced stages of composition, building on earlier collaborative work including Aer et Aqua.

My work often begins with historical material, musical or literary, which is then reimagined through contemporary dramaturgy and staging. This process is developed through sustained collaboration with designers and performers, allowing visual, spatial, and physical languages to evolve alongside the musical and dramatic structure. Whether reviving 18th-century opera seria, developing new libretti, or adapting literary sources such as Boccaccio’s Decameron and Shakespearean text, I am interested in how narrative can be reshaped for modern performance.

My approach is also grounded in my earlier work as a performer, encompassing acting with the Royal Shakespeare Company and work as a classical singer in both baroque and contemporary repertoire, including music by Nico Muhly. This experience continues to inform my understanding of rehearsal processes, vocal practice, and the relationship between performer, text, and musical structure.

As an artistic leader, I am interested in programming that places rediscovery and new creation in dialogue: pairing lesser-known works with established repertoire, and developing seasons that are thematically coherent, historically informed, and responsive to contemporary audiences.

The future of opera lies not only in how we preserve its heritage, but in how we expand it.