#barbican hall 2022 | Explore Tumblr Posts and Blogs

chrisryanspeaks · 4 months

Text

Beth Gibbons of Portishead Announces Debut Solo Album 'Lives Outgrown' + Tour Dates

Beth Gibbons unveils her inaugural solo venture, Lives Outgrown, graced with ten soul-stirring tracks meticulously crafted over a decade. This musical odyssey is brought to life under the production expertise of James Ford, known for his work with Arctic Monkeys, Depeche Mode, and The Last Dinner Party, alongside Gibbons herself, with Lee Harris of Talk Talk providing additional production touches. This album stands as Gibbons' most intimate creation, a reflection of enduring change and introspection, marked by significant departures from the familiar—be it family, friends, or facets of her past self. It encapsulates the essence of navigating life's midpoint, where future prospects no longer seem as bright, and the past takes on a new, poignant clarity. See “Floating On A Moment” below: Beth shares a profound realization of encountering a future without hope, a depth of sadness previously uncharted. She touches on the inevitable struggles with one's physical limitations, motherhood, anxiety, and the transformative journey through menopause—described as both an exhaustive audit and a challenging descent, and the stark reality of mortality. She reflects on the harsh lessons of loss and the difficulty in accepting life's irreversible conclusions, emphasizing the youthful naivety towards life's eventualities. Yet, from this decade of transformation and realignment, she emerges with a sense of newfound courage and purpose. The album's lead single, "Floating On A Moment," is accompanied by a visually arresting video directed by the renowned Tony Oursler, who sought to encapsulate the song's emotive and transformative power through a visually speculative narrative, highlighting Gibbons' ability to navigate through life's complexities with her evocative music and voice. Beth Gibbons, celebrated for her contributions to Portishead, her collaboration with Rustin Man on "Out Of Season" (2002), her rendition of Górecki’s "Symphony Of Sorrowful Songs" (2014), and her recent collaboration with Kendrick Lamar on "Mother I Sober" from his 2022 album, "Mr. Morale & the Big Steppers," continues to explore new musical terrains. Lives Outgrown will be accessible across various formats, including Standard and Deluxe LPs, featuring a tip-on gatefold sleeve, heavyweight vinyl, and exclusive booklets, as well as Standard and Deluxe CDs. Special editions purchased from DominoMart and Beth Gibbons' official website will include a signed postcard, offering fans a tangible piece of this profound artistic journey. Tracklist 1. Tell Me Who You Are Today 2. Floating On A Moment 3. Burden Of Life 4. Lost Changes 5. Rewind 6. Reaching Out 7. Oceans 8. For Sale 9. Beyond The Sun 10. Whispering Love Beth will be returning to the live arena to perform the following concerts in the UK and Europe in May and June. Tickets will be available from Beth’s website. 5/27: La Salle Pleyel - Paris 5/28: Theater 11 - Zürich 5/30: Primavera Sound Festival - Barcelona 5/31: La Bourse Du Travail - Lyon 6/02: Uber Eats Music Hall - Berlin 6/03: Falkonersalen - Copenhagen 6/05: Tivoli Vredenburg (Main Hall) - Utrecht 6/06: Cirque Royal - Brussels 6/09: The Barbican Centre - London 6/10: Albert Hall - Manchester 6/11: Usher Hall - Edinburgh Read the full article

0 notes

audiofuzz · 4 months

Text

Beth Gibbons of Portishead Announces Debut Solo Album 'Lives Outgrown' + Tour Dates

0 notes

classicalmusicdaily · 8 months

Text

John Wilson is highly sought after on a global scale. He frequently performs in the UK with most orchestras, including the City of Birmingham Symphony, BBC Scottish Symphony, London Symphony, and London Philharmonic orchestras, both during their normal seasons and at festivals like Aldeburgh, Glyndebourne, and the BBC Proms. He frequently performed with the John Wilson Orchestra for many years, both domestically and internationally. Wilson has conducted many of the best orchestras in Europe, including the Royal Concertgebouw, Budapest Festival, Swedish Radio Symphony, Oslo Philharmonic, Bavarian Radio Symphony, Royal Stockholm Philharmonic, and DSO Berlin, as well as the Sydney Symphony Orchestra. Wilson has also conducted orchestras outside of Europe, including the Sydney Symphony Orchestra. John Wilson Wilson conducted Puccini's Madama Butterfly at the Glyndebourne Festival Opera during their autumn tour in 2016. Since then, he has conducted Gershwin's Porgy and Bess at the English National Opera and Massenet's Cendrillon at the Glyndebourne Summer Festival. Wilson and the John Wilson Orchestra performed extensively around the UK and overseas for many years. He restarted the Sinfonia of London in 2018. The Guardian praised their eagerly awaited BBC Proms debut in 2021 as "really remarkable," and they are now in high demand around the UK; this season, they will return to the BBC Proms, Birmingham Symphony Hall, and London's Barbican Center, among other locations. Wilson has a sizable and diverse discography, and his recordings with the Sinfonia of London have won numerous accolades and exceptional praise. For example, the recordings of the Korngold Symphony in F sharp (2020), Respighi Roman Trilogy (2021), and Dutilleux Le Loup (2022) have each won the BBC Music Magazine Award in the orchestral category for three consecutive years. The Times named the Respighi recording one of the three "really remarkable versions of this trilogy" of all time, together with those by Toscanini (1949) and Muti. The Observer called the Respighi album "Massive, bold and vividly played." Wilson, a Gateshead native, studied composing and conducting at the Royal College of Music, where he was elevated to Fellow status in 2011. John Wilson received the prestigious ISM Distinguished Musician Award in March 2019 for his contributions to music, and the Royal Academy of Music appointed him to the position of Henry Wood Chair of Conducting in 2021. British orchestral conductor John Wilson founded the John Wilson Orchestra in 1994. It is a jazz large band that plays with a symphony orchestra. It performs Rodgers and Hammerstein compositions as well as MGM musicals' original arrangements. Since 2009, the orchestra has participated in The Proms summer event each year. The John Wilson Orchestra has received praise for demonstrating how film musicals can also feature "genuine period performance”. Prior to the 2010 Proms season, John Wilson spoke with Rebecca Franks for the BBC Music Magazine and described how the orchestra's particular composition represents this goal: The orchestra has a solid 15 years together, and its personnel is exceptionally specialized. It is based on the traditional American contract movie orchestras. And that essentially consists of a rhythm section, four trumpets, four trombones, five double-saxes, and a rhythm section, all of whom are highly specialised in this manner, together with a brass, rhythm, and saxophone section from a dance band. A woodwind and French horn section are added on top of that. But I believe that finding the appropriate string players is crucial. A very high octane, high gloss, soloist type of musician is required. Not down, but up, is the string sound mixed. You perform at your peak. It takes a lot of practise to get the in-your-face, costly kind of string sound. The best players are required, but our nation is blessed with excellent orchestral musicians. Wilson is most

known for his Proms performances with a Hollywood theme, which have been a mainstay of the event for well over a decade. So it surprised some when, in February, he stepped in at the last minute to conduct the London Symphony Orchestra's world premieres of Rachmaninov's Second Symphony and a trumpet concerto by Mark-Anthony Turnage. Wilson clearly possesses more than just a deep understanding of the Great American Songbook. In 2002, Wilson began performing with the BBC Scottish Symphony Orchestra, primarily specialising in light music. "I've always done it and I've never apologised for it, but over the years they've slowly given me more freedom, and I've worked with them on everything from Eric Coates to Dutilleux. I appreciate that they didn't categorise me. At the Proms, he will lead the orchestra in conducting Vaughan Williams and Holst's Planets, another piece from the traditional repertoire that he promises to give new life to. I always perform The Planets in a unique way as a party piece. A performance is never more than a momentary reflection of your attitude toward a work on any given day. He credits his unusual upbringing—a working-class boy from Gateshead who fell in love with music (and Hollywood musicals in particular), taught himself to play the piano with the assistance of a musical mother, completed an A-level in music at Newcastle College, and created his first orchestra at the age of 16—for the diversity of his repertoire. Wilson continued on and joined the Royal College of Music as a "reluctant and not very good percussion player," but later switched to composition and conducting. I had a few professors who made sure I had the time and support to succeed. As a result, I went from being on the verge of being expelled at the end of my first year to winning the Tagore Gold Medal, the college's top honour for students. Just being left to do what I want. In 1994, while he was only 22 years old, he founded his own orchestra under that name. He claims, "It just happened by accident." "When I was still a student, I was playing the piano at the Grosvenor House hotel. I had tea in the afternoon with a violinist and attended jazz trio concerts in the evening. So I ended up with two groups of friends—classical musicians from the Royal College of Music and jazz musicians from the Guildhall and the Academy—and it was the marriage of those two sets of passions that inspired us to play this symphonic music with a jazz influence. We started getting offers for gigs and residencies as it transitioned from being something we did purely for fun.

0 notes

shemakesnoisefestival · 9 months

Text

Nwando Eibizie

Nwando Ebizie es un punto de constelación para un espectro de trabajos multidisciplinarios que piden un cambio RADICAL. Ella desafía a su audiencia a cuestionar sus realidades percibidas a través de la creación de distintos personajes, teatro experimental, neurociencia, música electrónica y danza ritualista procedente de la diáspora africana. Forjando su propia línea particular de afrofuturismo, combina la investigación de la neurociencia de la percepción (inspirada en su propia neurodiversidad) y una obsesión por la ciencia ficción con una práctica de artes vivas.

Los trabajos incluyen su entorno sensorial inmersivo Distorted Constellations, su personaje pop Lady Vendredi que funciona como una heroína de blaxploitation de otra dimensión y la construcción de su experiencia operística a largo plazo, Hildegard: Visions. Esta premiada obra ha realizado giras por todo el mundo actuando en Tokio (Bonobo), Río de Janeiro (Tempo Festival), Berlín (Chalet), Letonia (Baltais Fligelis Concert Hall) y Zúrich (Blok), así como en todo el Reino Unido desde Home MCR hasta Barbican y Southbank Centre. Nwando trabaja a través de medios, géneros y formas de arte creando metanarrativas mitopoéticas y realidades alternativas. Su trabajo es un dibujo conjunto de las piezas que ella es en un momento congelado de regresión infinita eterna.

Siempre activista y basada en una perspectiva mitocientífica, invita a los asistentes a unirse a ella en crossroads. En la encrucijada donde puedes elegir atravesar el espejo cósmico y tocar realidades alternas. Las realidades de lo que podría haber sido y lo que debería haber sido y lo que posiblemente sea. Trabaja con ficciones especulativas, sueños posibles y mundos lúcidos. Su disco The Swan, 2022, está editado por Accidental Records, el sello de Mathew Herbert. Este álbum sugiere disrupción es una obra de ficción sónica en el mundo imaginado de una comunidad matriarcal, que se desarrolla como un relato etnográfico que dobla el tiempo de sonido encontrado y material de archivo que es a la vez antiguo y futurista.

El proyecto reúne los experimentos electrónicos de Nwando, las influencias musicales transfronterizas, las prácticas radicales de arte en vivo y los intereses en las culturas rituales del Atlántico negro y la ficción especulativa. Primera actuación en España.

Fotos de Dimitri Djuric

#artistas #smnfestival #she makes noise #Nwando Ebizie #conciertos #smn2023

0 notes

nabilla3 · 1 year

Photo

Soheila Sokhanvari Rebel Rebel Exhibition Visit

To begin this project, I visited the Barbican to see Soheila Sokhanvari’s exhibition: “Rebel Rebel” (Sokhanvari, 2023). The exhibition consisted of 32 pieces, including sculptures, videos and 28 paintings depicting famous Iranian singers and actresses. The name of the exhibition, Rebel Rebel, is borrowing from David Bowie’s 1974 song and is used as “tribute to the extraordinary courage of these female stars (Barbican, 2022).

Sokhanvari’s work centres around the islamic revolution in Iran of 1978-79 and its effects on women. The Islamic revolution consists of the events that led to the overthrow of the Pahlavi dynasty. Iranian society switched from one extreme to another. From having laws in place that make the veil compulsory, to the banning of the veil then back to the compulsory veil after the revolution (BBC, 2019). The monarch was attempting to make society more western in the “white revolution" that started in 1963 where he started to introduce modernising reforms. The strides to become more western was the cause of the islamic revolution as the muslim majority was against what the Iranian society that the monarchy was creating. ()

As I walked through the installation, I found that although I have no Iranian ancestry or ties to all the women depicted, it conjured up a feeling of nostalgia. I think this was because of a few elements. Such as the positioning of all of the pieces. The paintings were all hung up along The Curve, part of The Barbican. As you walk past all of the paintings in a dimly lit streamlined room, it feels like you are put in Sokhanvari’s shoes walking down a hall of fame or even memory lane. Although I presumed that the reason for the nostalgia was because of the music and patterns which I could connect to, my friends who are both ethnically english, experienced the same sensation.

Another possible reason is due to the context given at the start of the installation. The description explained how the project was highlighting women who were famous but were forced into exile due to the restriction of how women were allowed to be represented (Barbican, 2022). For example, it was prohibited for women to sing in public. Censoring what was allowed to be produced in the media meant that a large part of the culture was being lost. I think that the nostalgic feeling that was created is itself bittersweet, as you reminisce on sweet moments but the loss of the positive times, creates a bitter negative feeling. I think the exhibition was bittersweet in the same sense.

What I found interesting about the exhibition was that the artist chose to present these actresses and singers in a powerful portrait, giving them visibility after decades of hiding, where the songs and films were becoming buried under the government's regime. The portraits were very expressive and the poses and freedom of what the portraits wear and how the figure is displayed to pose. This is what gave them power, taking it back from the government's regime. However, for most of the paintings and especially the earlier paintings, the way that she painted the draping fabric and pattern was quite flat, similar to how the background and furniture were painted. This creates a camouflage effect. Where it seems like there is still a sense that they should not be seen due to how the clothes could blend in with the interiors. I do not think this was the intention, rather she did this to contrast the greyscale painting of the figure. The stark contrast of the vibrant patterns against the realistically rendered skin amplifies the message of how these women's histories have been lost in time. The clothing and patterns can be preserved in a way that people cannot be.

Overall I really enjoyed 'Rebel Rebel' but my biggest critique would be what information that was presented to the viewer. Although an exhibition guide was given through a QR code, the site was not working and I think they could have presented the backstory of the art in a more simple but effective way. Only after researching more about the exhibition afterwards, did I then learn about all the different layers behind her work. I was drawn to the exhibition due to the relation of ethnicity and nationality to identity and because of Sokhanvari’s use of patterns. However, the patterning was never addressed. With further research (Walton, 2019) I found that all of the patterns used were sampled from her iranian fashion lines. In particular the one that her father, Ali-Mohammed Sokhanvari owned, therefore were the patterns that surrounded her as a child. To Sokhanvari, the patterns are not just decoration. Instead they become markers of time.T”hey are political, they can speak about an era, or social status” (Walton, 2019).

On the artist's website, I found the reasoning for Sokhanvari’s use of calf vellum in her paintings is due to symbolism of cows and their relationship to religion. As they are the animals used for sacrifice in religions such as Islam. This illustrates the “sacrifice of the individual and artist”(Anon, 2014). Sokhanvari has other references to Islam and its relationship to the individual, like the giant islamic geometric pattern that was hand painted on the walls. Which was made to “dizzy the beholder so that they could contemplate the vastness of the universe and the greatness of God.” (Barbican, 2022)

The exhibition has underlying themes of death as the dark room of paintings lead to a brightly illuminated star sculpture. Where the music plays comes from. The music played echoed throughout The Curve, creating a haunting effect. The paintings also became less realistic as they went on and more surreal. The way that the installation was composed mimicked the way that near death experiences are represented as “a light” that contrasts the rest of the dark room. Perhaps this is to represent the end of an era in Iran. Where the restriction on how women presented themselves was less severe.

The way that Sokhanvari uses patterns to represent time and history really inspires me and I would like to use the same techniques as her by using patterns to communicate what I want. I find the whole concept of the loss of culture that has been conveyed throughout the installation also really intrigued me as I link this to diasporic identities.The biggest difference is that for Sokhanvari she is conveying an event where the government is the cause of the suppression of the expression of identity and culture. However, for diasporic identities, it is the self that is suppressing the expression. I found that from personal experience, individuals who come from households where both parents are immigrants from countries like Bangladesh are placed in a western society but home lives and parents expectations of them are still very much Bangladeshi. To avoid being alienated and singled out, the individual has to assimilate into western culture and eradicate traces of their diasporic ethnicity in order to fit in.

Anon, 2014, About Soheila Sokhanvari, Available at: https://www.soheila-sokhanvari.com/about/ Last Accessed: March 2023

Barbican, Soheila Sokhanvari Rebel Rebel Exhibition Guide, Available at: https://sites.barbican.org.uk/soheila-sokhanvari-rebel-rebel/index.html#group-section-List-of-Works-CLWzm4clrY Last Accessed: March 2023

BBC, 2019, Iranian Women: Before and After the Islamic Revolution, Available at: https://www.bbc.co.uk/news/world-middle-east-47032829 Last Accessed: March 2023

Walton, E, 2019, Soheila Sokhanvari Places Iran’s Forgotten Female Pop Stars in the Spotlight, Available at: https://elephant.art/soheila-sokhanvari-iran-portraits-painting-women-kristin-hjellegjerde/ Last Accessed: March 2023

Sokhanvari, S, 2023, Rebel Rebel, The Barbican, Date Visited: 25/02/2023

0 notes

jhnpck · 1 year

Text

2022 Things

LP: The Smile 'A Light for Attracting Attention' / Spiritualized ‘Everything Was Beautiful’ / Shabaka Hutchings ‘Afrikan Culture’ / Fontaines DC ‘Skinty Fia’ Track: The Smile 'Skirting on the Surface’, ‘The Smoke’ & ‘Thin Thing' / Gilla Band ‘Backwash’ / Azu Tiwaline & Al Wootton ‘Blue Dub’ Gig: The Smile, Magazine / Tindersticks, Royal Festival Hall / Oh Sees, Junction / Autechre, Barbican Book: Eckhart Tolle 'A New Earth' / George Monbiot 'Regenesis' / Rutger Bregman 'Humankind' TV: Better Call Saul / The Green Planet / Stewart Lee 'Snowflake' Film: Blonde / Moonage Daydream / This Much I Know to Be True Radio: Uncanny / Thom Yorke, Sonos Radio Art: The Red Hand Files / Defaced, Fitzwilliam Museum Place: Slovenia

#Things

0 notes

markseow · 1 year

Photo

Programme notes 15 December 2022

Bach Toccata and Fugue in D minor (arr Chad Kelly), Nicola Matteis Jr Fantasia in C minor, Con Discretione, Johann Joseph Vilsmayr Partita No 6 from Artificiosus Concentus pro Camera, A Suite of short movements from the Nogueira and Klagenfurt manuscripts, Johann Paul von Westhoff Suite pour le violon seul sans basse, Giuseppe Tartini Violin Sonata No 17 from Piccole Sonate, Chad Kelly Phantasia, Bach Cello Suite No 6 in G major Rachel Podger, programme notes by Mark Seow Milton Court Concert Hall, Barbican

#writing #research #bach #prognotes #matteis #vilsmayr #westhoff #tartini #chadkelly #barbican #rachelpodger #nogueira #klagenfurt

0 notes

helloyoucreatives · 2 years

Text

vimeo

The Barbican launches At the Barbs - a new podcast exploring the colliding worlds of culture and art, in collaboration with The Elephant Room

The Barbican has launched At the Barbs, a new weekly podcast delving into the world of art and creativity - through the lens of culture and its influences on a younger generation. At the Barbs is hosted by Capital XTRA broadcaster Robert Bruce, and will feature a new guest each week for six weeks to discuss performances and shows at the Barbican and beyond, with the first episode going live tomorrow (9 Nov 2022).

The new podcast, developed with creative agency The Elephant Room, will provide a space to discuss theatre, film, music and art from the point-of-view of communities, rather than the traditional and established perspectives. “It’s a meeting point for where art and culture blurs lines, borders and boundaries, and shifts locations - whether they are physical or digital.” says host Robert Bruce. Alongside the podcast sits a suite of new creative assets, marketing materials and social content developed with The Elephant Room.

The podcast encourages listeners to develop their own point of view, safe in the knowledge that there’s no right or wrong answer, and invites them to experience and review art and performances from the Barbican programme. At The Barbs has been created for everyone who sees culture as unbounded, finding it anywhere, anytime and in any form.

The first season will feature Robert Bruce in conversation with a different guest each week. Guests include radio host and presenter Swarzy Macaly reflecting on current Barbican Art Gallery exhibition Carolee Schneemann:Body Politics (Thu 8 Sep 2022—Sun 8 Jan 2023), writer and film director Koby Adam on To What End, a recent evening of short dance and live music performances developed by William Kentridge’s The Centre for the Less Good Idea in the Barbican The Pit Theatre, and musician Jelani Blackman discussing The UK Drill Project by HighRise Entertainment (Thu 3—Sat 12 Nov 2022). Other guests include Youtuber and football vlogger David Vujanic talking about Black Arsenal, an exploration of Arsenal’s historic contribution to Black sporting iconography, singer and songwriter Miraa May reflecting on internationally-renowned pianist Isata Kanneh-Mason’s recent Barbican Hall performance and A&R Manager Komali Scott–Jones discussing ‘writer of the decade’ Rupi Kaur and her recent spoken word poetry experience. Each guest will reflect on what they've seen and unpack its themes whilst discussing their own creative journeys and views on culture.

#Vimeo

0 notes

mancopan · 2 years

Photo

mark.allan.photos: Wow…privilege to photograph Damon Albarn’s rendition of his new album ‘The Nearer the Fountain, More Pure the Stream Flows’ with an encore of out takes in the Barbican Hall.

#damon albarn #barbican hall 2022

63 notes · View notes

daisiesonafield-blog · 2 years

Note

This is the muller yoghurt advert filmed in the exact same room as the as it was music video. It says it was uploaded a year ago (to the muller channel) but it’s still being run as a pre-roll ad on YouTube as of last week

youtu*be/CHg4vBY4Ygs

(Replace * with . )

If that link doesn’t work search Müller Corner Peel Back & Play TV AD featuring Dina Asher-Smith on YouTube :)

Hi dear,

youtube

The commercial is at the Lindley Hall, at the The Royal Horticultural Halls, and that is not at the Barbican as far as I can tell:

link

This is the Barbican filming location:

Note: related to this

#barbican #as it was mv #as it was bts #apr 7 2022 #apr 2022 #Lindley Hall #The Royal Horticultural Halls #as it was filming locations

26 notes · View notes

verdiprati · 4 years

Text

Looking ahead . . . in spite of it all

The last time I published an unofficial list of Dame Sarah Connolly’s upcoming performances, it was with hesitation, knowing that she had months of treatment for breast cancer ahead of her and that she might need to withdraw from some of her performance engagements. That was in late October, 2019. I had, at the time, no inkling that a then-unknown respiratory virus would begin infecting humans over the winter and rapidly break out into a deadly pandemic, resulting in the widespread closure of public spaces and devastating the performing arts.

The change log appended to my previous unofficial schedule post shows that on March 23, 2020, I made the first round of edits to reflect corona-cancellations. Since then, I have been quietly monitoring the status of Dame Sarah’s scheduled gigs and crossing them off as their cancellations have become known to me.

I have also picked up on a few new dates that we can very tentatively look forward to. It is hard to say how long the coronavirus crisis will go on; even when large, indoor public gatherings become possible again, some arts organizations may have had to slash their offerings—or may have succumbed completely—due to the financial fallout of the pandemic. In the meantime, we are starting to see some companies like the Bayerische Staatsoper, Wigmore Hall, and the Royal Opera House offer small-scale, live musical performances with no live audiences, just online streaming.

Now that Dame Sarah is about to perform in one such livestream-only concert—tomorrow’s Das Lied von der Erde in Covent Garden, also notable for being her first live performance since withdrawing from the stage for cancer treatment over the winter—it seems like the right moment to refresh my list of her upcoming performances and start anew.

See my current list after the jump.

This is the point in the post where I normally give a condensed list highlighting the cities where Dame Sarah is scheduled to appear in live performance, so that readers can tell at a glance whether she is coming anywhere near them. This list must now be read with a giant asterisk, as some performances may be online-only (so it doesn’t matter where you live), and others may be much more prone to cancellation than normal!

That said—British performance sites on the horizon at the moment are the Royal Opera House (for online viewing only) and Wigmore Hall in London, plus the Lieder Festival in Oxford (also online only). Audiences in continental Europe might get to see Dame Sarah in Barcelona, Berlin, Hamburg, Amsterdam, or Luxembourg. An as-yet-unconfirmed operatic run may be in store for the 2021-2022 season in New York.

The usual disclaimers:

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah’s new website, Dame Sarah’s agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

I sometimes list concerts that are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time. This obviously goes triple in the COVID-19 era.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

[Livestream only] Mahler, Das Lied von der Erde at the Royal Opera House, London, June 20, 2020. With David Butt Philip and members of the ROH orchestra; Antonio Pappano conducts. The performance will be livestream-only; no audience will be seated in the house. Tickets are £4.99 and grant you not only live access, but also the ability to view the concert on demand for two weeks following the performance.

[New!] Recital at Wigmore Hall, London, September 16, 2020. With Malcolm Martineau, in the Wigmore’s 1:00 p.m. “lunchtime” slot. Songs by Poulenc, Roussel, Mahler, and Bridge, capped by a pair of songs newly written by Bob Chilcott for Dame Sarah. At the time of this writing, Wigmore Hall expects to admit live audiences of 10%-20% capacity during the autumn season under socially-distanced reopening guidelines, but the situation for live performance in the UK remains fluid, to put it mildly. The website says that “More details on how to access tickets will be released in the coming weeks. All concerts will go ahead, with or without an audience.”

[Livestream] The recital, like all the others in Wigmore Hall’s autumn 2020 season, will be streamed for free on their livestreaming site. It appears that you can also use this YouTube link.

[Canceled] Recital at Wigmore Hall, London, September 30, 2020. With Roderick Williams and Julius Drake; the first concert of the Wigmore’s Mendelssohn and Liszt series. Public booking is scheduled to open on July 14. UPDATE: As of July 31, this recital is no longer listed on the Wigmore Hall website. Update, August 22: see above for a newly-scheduled Wigmore recital by Dame Sarah.

[New! Livestream only] Handel, Solomon (title role) and Foundling Anthem with the English Concert, October 1, 2020. Also starring Sophie Bevan, Soraya Mafi, and James Way; conducted by Harry Bickett. Selections from both works will be performed as part of a concert titled “Handel – The Philanthropist.” Tickets to the livestream are free; donations are requested to both The English Concert and Bart’s Heritage, the fund for renovating St Bart’s Hospital, which will be the venue for the performance.

[Livestream only] Recital at the Oxford Lieder Festival, October 10, 2020. With Eugene Asti (pianist) as well as “emerging artist” William Thomas (bass)—apparently part of Barbara Hannigan’s Momentum initiative, which is supported by both Dame Sarah and the Oxford Lieder Festival. Schumann’s Fraunliebe und -leben and Mahler’s Rückert-lieder bookend an assortment of songs by Haydn, Arne, Bush, Quilter, Howells, and Britten. The livestream ticket (£12, or £5 for under-35s) includes access to a post-performance Q&A session with the artists. Video will remain available until November 1. Notably, the £250 “Pioneer Pass” for the whole festival gets you bonus goodies including “Two guest tickets to Dame Sarah Connolly’s recital, to share with friends” and “Exclusive artist interviews and other content.”

[New!] “Pappano & Friends” chamber concert at the Barbican, London, November 1, 2020. With Ian Bostridge, the Carducci Quartet, and Antonio Pappano. Tickets are being sold separately for a limited live audience (£20) and for a video livestream of the performance (£12.50). The listed program comprises just two works: Ralph Vaughn Williams’ song cycle On Wenlock Edge and an arrangement of Ernest Chausson’s Poème de l’amour et de la mer. I don’t really know either work, but a little googling suggests to me that Bostridge will sing the RVW and Dame Sarah will sing the Chausson. Tickets go on sale to the general public on September 11 at 10:00 a.m., and a few of the live audience tickets will be held back from the earlier Barbican members’ sale for the general sale, so if you want to try to attend in person, be ready to act swiftly at that time.

[Livestream] As mentioned above, there is a fee of £12.50 for access to the livestream. The Barbican website says, “We advise you to watch the performance live, but the stream will be available to watch back for 48 hours after the live broadcast.”

[New!] Mozart’s Requiem with the English National Opera, London, November 6 and 7, 2020. Fellow vocal soloists are Elizabeth Llewellyn, Toby Spence, and Brindley Sherratt. With the ENO Chorus and Orchestra conducted by Martyn Brabbins. As of this writing early on September 15, the ENO website says “Ticket details will be announced soon.” ENO plans to perform for a live, socially distanced audience; livestreaming has been mentioned only as a backup option in case government restrictions make it impossible to host a live audience in the Coliseum.

[New!] Forum participation, International Vocal Competition, 's-Hertogenbosch, Netherlands, December 2, 2020. Having postponed its opera and oratorio competition until 2022 due to the COVID-19 pandemic, the IVC announced that it would sponsor a multi-day series billed as “IVC Mozart Masterclasses & More” late in 2020. Masterclasses will be led by Vesselina Kasarova, Roberta Alexander, and Thomas Oliemans; Dame Sarah doesn’t seem to have the same role, but the IVC promises that she will be among several “leading professionals” who will “talk with the participants about the future of their profession” as part of “a forum ... about the future as it now looks for (young) singers.” Singers who were born no earlier than December 5, 1987 and who can cough up €500 for the experience may register by October 1, 2020. Members of the public may buy tickets to the events beginning “at the end of August.”

Handel, Agrippina (title role) at the Dutch National Opera, Amsterdam, January 17-29, 2021. The production is Barrie Kosky’s (previously seen at the Bayerische Staatsoper and the ROH, and later moving on to the Staatsoper Hamburg). Ottavio Dantone conducts; co-stars include Ying Fang (Poppea), Franco Fagioli (Nerone), Gianlucca Buratto (Claudio), and Tim Mead (Ottone). As of this writing (June 19, 2020), single ticket sales are indefinitely suspended due to the coronavirus crisis.

Stravinsky, Oedipus Rex (Jocaste) at the Dutch National Opera, Amsterdam, March 10-27, 2021. In a double bill with the new commission From ‘Antigone’ by Samy Moussa. Other singers in the Oedipus cast include Sean Panikkar (Oedipus), Bastiaan Everink (Creon), Rafał Siwek (Tiresias), and Ramsey Nasr (Speaker). Erik Nielsen conducts; Wayne McGregor directs. As of this writing (June 19, 2020), single ticket sales are indefinitely suspended due to the coronavirus crisis.

Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester, Hamburg, April 10 and 11, 2021. Even though these concert performances follow on the heels of Dame Sarah’s engagement for the same opera in Amsterdam, the two gigs appear to be administratively and artistically unrelated. Her co-stars in Hamburg include Brenden Gunnell (Oedipus), Tomasz Konieczny (Creon), and Sir John Tomlinson (Tiresias); the MDR Rundfunkchor Leipzig supplies the men’s chorus. Alan Gilbert conducts. The program also includes Le sacre du printemps. Under a special policy instituted in response to the uncertainties of the coronavirus pandemic, tickets can be pre-ordered starting May 26, 2020, with payment due when it is confirmed that the performance will go forward, no later than six weeks before the concert. There’s some background information about the Stravinsky pieces on the NDR website.

Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester at the Philharmonie Luxembourg, April 19, 2021. Co-stars, conductor, and chorus are the same team as in the Hamburg performances, and the Luxembourg program likewise includes Le sacre du printemps. Tickets go on sale February 22, 2021.

[New!] Recital for St Luke’s Music Society, London, May 8, 2021. With Joseph Middleton. Repertoire TBA. Note that “during the COVID crisis tickets may be restricted to Friends only.” Tickets are £18 and Friends membership is £35; the tickets for Dame Sarah’s recital go on sale December 13.

Recital at the Concertgebouw, Amsterdam, May 18, 2021. With Julius Drake. Songs by Mendelssohn, Liszt, Elgar, Debussy, Ravel, and Chaminade.

Elgar, The Dream of Gerontius with the Berliner Philharmoniker, Berlin, May 27, 28, and 29, 2021. With Allan Clayton and Roderick Williams, as well as the Rundfunkchor Berlin; Simon Rattle conducts.

[Livestream] The concert on the 29th will be livestreamed on the Berliner Philharmoniker’s Digital Concert Hall platform.

[Unconfirmed / details TBA] Tour with the Wiener Symphoniker, October 2-5, 2021. Dame Sarah’s name appears along with that of conductor and violinist Andrés Orozco-Estrada (who will take over as music director of the Wiener Symphoniker in the 2020-2021 season) in this list of orchestra tours on the website of agents Dr. Raab & Dr. Böhm. Details of the repertoire and cities for the tour will presumably be revealed when the Wiener Symphoniker announces its 2021-2022 season.

[New date!] Recital at Sant Pau Recinte Modernista [PDF], Barcelona, November 15, 2021. With Julius Drake. Part of the LIFE Victoria series of recitals; originally announced for November 27, 2019, but postponed due to Dame Sarah’s treatment for breast cancer; rescheduled for October 2020, and further postponed due to the coronavirus pandemic. Themed as a “Viennese journey by the hand of Alma Mahler,” the recital includes songs by Brahms, Wolf, Debussy, Alma Mahler, Gustav Mahler, and Zemlinsky.

[Livestream? TBC] This article in the Catalan newspaper La República says of the combined 2020-2021 season that “Tots els concerts es retransmetran en streaming, independentment de si pot assistir-hi públic o no” (“All concerts will be streamed, regardless of whether the audience can attend or not”). I have been unable, however, to confirm this detail on the LIFE Victoria website or in the PDF of the combined season announcement.

[Unconfirmed / details TBA] Brett Dean, Hamlet (Gertrude) at the Metropolitan Opera, New York, sometime in 2021-22. Allan Clayton, who starred in the title role of Brett Dean’s Hamlet at Glyndebourne in 2017, mentioned in an interview with the Telegraph that he would be reprising the role at an unspecified date and venue in the US. When prompted on Twitter, Dame Sarah indicated that she would be participating in the revival, too (“I shall be misunderstanding my confused boy again”). In a later interview with Opera News, Clayton reportedly specified that he would reprise Hamlet at the Met. The Future Met Wiki places the production at the Met in the 2021-2022 season (as does this New York Times article). Hat tip to Christopher Lowrey, who sang Guildenstern in the original production at Glyndebourne, whose tweet praising Allan Clayton brought the Telegraph interview to my attention. (No indication whether Lowrey will also be cast in the American revival.) Additional hat tip to the Tumblrer who submitted information on this topic via the ask box.

Previous versions of this list can be found under the schedule tag on this blog. This list published June 19, 2020. Updated June 22 to reflect the further postponement of the LIFE Victoria recital. Updated July 22 with the new date of the LIFE Victoria recital and the addition of the IVC forum. Edited July 28 to correct the closing date of DNO Agrippina to January 29 (not 27). Edited August 1 to reflect the cancelation of the September 30 recital at Wigmore Hall. Edited August 22 to add the September 16 recital at Wigmore Hall and update the Oxford recital with more details. Edited August 29 to add the English Concert livestream and fill in the repertoire for the September 16 Wiggy recital. Edited September 8 to add the Barbican “Pappano & Friends” concert. Edited September 15 to add the ENO Mozart Requiem and belatedly fill in some details on the Oxford Lieder Festival recital. Edited September 21 to add the recital for St Luke’s Music Society. I may continue to edit this list as I receive new information.

#sarah connolly #schedule #performances

3 notes · View notes

architectnews · 2 years

Text

Barbican Centre Renewal Competition Winners News

Barbican Centre Renewal Competition Winners, City of London Corporation Architecture Contest Architects

Barbican Centre Renewal Competition Winners

27 Apr 2022

Winning design team to lead Barbican Centre renewal revealed

Design: architects Allies and Morrison + Asif Khan Studio

27th of April 2022 – A collaborative design team led by architects Allies and Morrison and Asif Khan Studio, has been selected to deliver a multi-million-pound renewal of the Barbican Centre.

Barbican Centre Renewal Contest News

The project will preserve the iconic building’s original architectural vision, provide new opportunities for the Barbican’s diverse community of artists, audiences, and partners, and boost the building’s accessibility and environmental performance.

The winning team, chosen from a five-team shortlist, also includes engineering and sustainability consultancy, Buro Happold; heritage experts from Alan Baxter Ltd; theatre, acoustic, and digital consultancy, Charcoalblue; landscape architects, Hood Design Studio, lighting design agency, les éclaireurs, and artistic advisors Isaac Julien and Nadia Fall.

The team has considerable experience in major heritage and cultural projects, and have delivered projects for organisations including Tate Britain, the V&A, Royal Festival Hall, Shakespeare’s Globe, Oakland Museum of California, and more.

photograph © Nick Weall

Chair of the City of London Corporation’s Barbican Centre Board, Tom Sleigh, said:

“The team showed total commitment to preserving the Barbican Centre building as a much-loved global icon, while ensuring it remains a leading creative centre for generations to come.

“We’re delighted to have this world-class design team working with us to help deliver our creative vision, while also making major improvements to the Barbican’s environmental performance.

“This is a once in a lifetime opportunity to shape the future of this iconic centre for arts and learning, and strengthen its ability to play a leading role in the recovery of the City, and the capital, from the pandemic.”

Their winning vision has sustainability at its core, with a strong focus on reusing and retrofitting existing spaces to minimise the project’s carbon footprint and environmental impact.

This approach will make sensitive and sustainable improvements that will retain and respect the Barbican’s Grade II listed architecture, while bringing underused spaces into new creative use.

Newly appointed CEO of the Barbican Centre, Claire Spencer, said:

“This is a hugely exciting time to join the Barbican Centre and I’m looking forward to working alongside the team led by Allies and Morrison and Asif Khan Studio.

“Their passion for the building’s architectural heritage, paired with their innovative design credentials, make them our perfect partner.

“Equity, diversity, and inclusion will be an essential theme underpinning the design process, ensuring our building reflects the creative energy of all London’s communities, with safe, accessible, and welcoming spaces for everyone.”

Commenting on their appointment, Simon Fraser, Partner at Allies and Morrison said:

“We are looking forward to working with the Barbican Centre, the City of London Corporation, residents, and Londoners of all communities, to uncover the full potential of a place that so many people love, and to invite and enable new work and audiences for the next forty years.

“We are interested in the notion of ‘revealing’, of finding places of untapped potential within and around the walls of the Barbican. Not only will this approach offer substantial savings in embodied carbon, and respects the Centre’s significant heritage value, but it opens a myriad of opportunities for creative, inclusive reinvention.

“It has been a pleasure assembling and collaborating with a multidisciplinary team that has the lived experience to take on this exciting task. For all of us, this will be the project of a lifetime.”

Asif Khan, Founder and Owner of Asif Khan Studio, added:

“My dad first brought me to the Barbican just after it opened to the public in 1982. From those early visits as a two-year-old we would spend countless Sundays enjoying the free programme and public spaces. For him, the lake was a reminder of the Shalimar Gardens in Lahore. For me it has always felt like home and has been a constant presence in my life. Who would imagine that exactly forty years later there would be an opportunity to contribute towards its future? Amazing things happen like that in this city.

“This renewal project will care for the things we all love about the place, solving parts which could have been better, but most importantly helping to open up the Barbican to London and Londoners in ways that couldn’t be imagined before. The incredible team we have assembled to bring about this change are embarking on this journey with great excitement and dedication to the vision for the Barbican’s new life.”

All shortlisted bids were assessed by an evaluation panel which included external specialists in equity, diversity and inclusion, and heritage and sustainability, alongside representatives from the City Corporation and members of its Barbican Centre Board, and senior Barbican Centre staff.

The external panellists were:

Yẹmí Aládérun, architect and development manager, Meridian Water, Co-Founder PARADIGM Network

Lisa Burger CBE, Former Joint Chief Executive, National Theatre

Margot Heller OBE, Director, South London Gallery

Dr Judit Kimpian, architect and environmental design expert

Dr Neal Shasore, Chief Executive and Head of School, London School of Architecture and Trustee, The Twentieth Century Society

The winning design team’s vision will now be refined and developed, including extensive engagement with the Barbican’s stakeholders.

Multiple design options will be created for the project, which will be deliverable within a construction budget of £50m to £150m. The budget for the project is subject to approval by elected Members of the City Corporation.

Each year, over a million people attend Barbican Centre events performed by hundreds of artists from across the globe. The Barbican is currently rolling out a new creative vision which will be the driving force for a more inclusive, diverse, and accessible arts and education centre, where everyone feels they belong.

The Barbican Centre is a key part of Culture Mile, the City of London’s cultural district, stretching from Farringdon to Moorgate. Led by the City of London Corporation, with the Barbican Centre, Guildhall School of Music & Drama, London Symphony Orchestra and Museum of London, the five partners are together creating a vibrant, creative area in the north-west corner of the Square Mile.

The City Corporation, which is the founder and principal funder of the Barbican Centre, is the fourth largest funder of heritage and cultural activities in the UK and invests over £130m into culture every year.

The selected design team was drawn from an impressive pool of high-calibre submissions from talented UK and international design-led bids. Further information about the project and the brief can be found here.

About the City of London Corporation

The City of London Corporation is the governing body of the Square Mile dedicated to a vibrant and thriving City, supporting a diverse and sustainable London within a globally-successful UK – www.cityoflondon.gov.uk

About the selected design team

Allies and Morrison

Allies and Morrison is a practice of architects and urbanists based in London and Cambridge. We design beautiful buildings that have long life and can adapt over the generations. We also shape enduring places whether new pieces of city or settlements at any scale. All our projects are concerned with the crafting of every detail and the appreciation for the uniqueness of each context.

Asif Khan

Portals, Expo Dubai: DUBAI, 14 January 2021. The Sustainability Portal, Expo 2020 Dubai. (Photo by Dany Eid/Expo 2020 Dubai)

Asif Khan Studio, established in 2007, design buildings and experiences which offer new ways of thinking about the world and one another. We take innovative approaches with technology, matter, nature, and human sensibility to reimagine the way we can all experience and shape our environment. Working internationally, projects range from cultural buildings and landscapes to exhibitions and installations.

Alan Baxter Ltd

Alan Baxter takes a holistic approach to create better buildings and healthier places to live and work. While engineering remains at our heart of our work, we have grown into a design consultancy working across all aspects of the built environment. We are committed to the wider issues of cities, urbanism, conservation, and their relationship with the design of our surroundings. Our civil and structural engineers, urban designers, and conservation specialists collaborate every day, distilling our breadth of knowledge, imaginative ideas and the ability to weave these strands together to create valuable, holistic and sustainable solutions.

Buro Happold

Cutty Sark Conservation Project:

Buro Happold is an international, integrated consultancy of engineers, consultants and advisers, with a presence in 31 locations worldwide, over 70 partners and 1,900 employees. For over 45 years we have built a world-class reputation for delivering creative, value-led solutions for an ever challenging world.

Charcoalblue

Chicester Festival Theatre:

Charcoalblue was established in the heart of the UK theatre industry in 2004. Since then, we have carved out a reputation as the world’s leading integrated Theatre, Acoustic and Digital Consultancy service. We now operate as a cohesive and collaborative team across six international studios in the UK, USA and Australia, delivering projects to every corner of the globe.

Hood Design Studio

Oakland Museum of California:

Hood Design Studio, Inc. is a social art and design practice based in Oakland, California founded in 1992. The studio’s practice is tripartite: art + fabrication, design + landscape, and research + urbanism. This breadth allows us to understand each place in its scale and context. We respond not with a standard design, but with an approach adaptive to the particulars and specifics of a space.

Isaac Julien Studio

Filmmaker and installation artist, Isaac Julien CBE RA, was born in 1960 in London, where he currently lives and works. His multi-screen film installations and photographs incorporate different artistic disciplines to create a poetic and unique visual language. His 1989 documentary-drama exploring author Langston Hughes and the Harlem Renaissance titled Looking for Langston garnered Julien a cult following while his 1991 debut feature Young Soul Rebels won the Semaine de la Critique prize at the Cannes Film Festival.

les éclaireurs

Fondazione Prada, Les Eclaireurs: photo : Bas Princen

les éclaireurs is a lighting design agency with a plastic and technical approach

Our agency has solid experience in the contemporary lighting enhancement of public spaces with a high image impact, urban complexes and public parks. The company is known for its scenographic approach to space, creating urban wanderings, making the space legible, playing with the temporalities of the city and its uses to better support them.

Barbican Centre Renewal Competition Winners images / information received 280422

Previously on e-architect:

8 September 2021

Location: Barbican Centre, central London, England, UK

World’s best architects and designers asked to renew Barbican Centre

Barbican Centre Renewal Contest News

The City of London Corporation has today launched its search for a design team to develop and deliver plans for a major renewal of the Barbican Centre.

photograph © Adrian Welch

photo © Nick Weall

photo © Adrian Welch

Location: Barbican Centre, London, England, UK

Barbican Centre Buildings

Barbican Estate Architecture

Centre for Music London Competition Shortlist photo By Andy oxford (Own work) CC BY-SA 3.0 (https://ift.tt/ZvFGm1j), via Wikimedia Commons

Barbican Estate London Photos

Barbican Centre Cinema London Building

The Building UK Premiere, Barbican Centre

Barbican Centre Refurbishment architects office : Allford Hall Monaghan Morris

Barbican Centre Film – Architecture on Film : Suburban Dreams

Arts Centres

Barbican Centre, London – www.barbican.org.uk

Architecture in London

Contemporary Architecture in London

London Architecture Links – chronological list

London Architecture

London Architecture Walking Tours

London Architect

London Architecture Designs

London Art Galleries

Comments / photos for Barbican Centre Renewal Competition Winners – 20th Century City of London Architecture page welcome

The post Barbican Centre Renewal Competition Winners News appeared first on e-architect.

#e-architect

0 notes

sexydeathparty · 2 years

Text

Emma Corrin's Gloriously Camp Balloon Dress Wins The Olivier Awards Red Carpet

Emma Corrin attends The Olivier Awards 2022 at the Royal Albert Hall.

Emma Corrin was the talk of the Olivier Awards on Sunday night when they graced the red green carpet in a campy balloon dress.

The 26-year-old Crown star, who uses she/they pronouns, turned heads in the balloon print dress from Jonathan Anderson’s fall 2022 collection for Loewe, complete with a pair of deflated balloons cast as a kind of breastplate.

And to complete the look? A pair of black patent leather boots, complete with (what else?) balloon heels.

Sharing a picture of Emma’s outfit on Instagram, their stylist Harry Lambert captioned the snap: “This one is for the gays”.

View this post on Instagram

A post shared by Harry Lambert (@harry_lambert)

A revival of the musical Cabaret and a stage adaptation of Life of Pi were the big winners at Sunday’s bash held at London’s Royal Albert Hall as the stage industry celebrated a year in which performances resumed after lockdown.

Cabaret stars Eddie Redmayne and Jessie Buckley won acting prizes while the show was named Best Musical Revival after leading the nominations with 11 nods.

Jessie Buckley, winner of the Best Actress in a Musical award for Cabaret, and Eddie Redmayne, winner of the Best Actor in a Musical award for Cabaretin the winner's room during The Olivier Awards 2022.

Life of Pi, based on the Booker Prize-winning novel and staged at London’s Wyndham’s Theatre, was named Best New Play and scooped several technical prizes.

The play’s lead, Hiran Abeysekera, also won Best Actor, while the seven performers who play the tiger shared the Best Supporting Actor prize.

Olivier Awards 2022: Complete winners list:

Cunard Best Revival

Constellations - Donmar Warehouse at Vaudeville Theatre

Noël Coward/Geoffrey Johnson Award for Best Entertainment or Comedy Play

Pride And Prejudice* (*sort of) at Criterion Theatre

Magic Radio Best Musical Revival

Cabaret at The Kit Kat Club at the Playhouse Theatre

Best Costume Design

Catherine Zuber for Moulin Rouge! The Musical at Piccadilly Theatre

d&b audiotechnik Award for Best Sound Design

Nick Lidster for Cabaret at The Kit Kat Club at the Playhouse Theatre

Best Original Score or New Orchestrations

Get Up Stand Up! The Bob Marley Musical - Orchestrator: Simon Hale at Lyric Theatre

Best Theatre Choreographer

Kathleen Marshall for Anything Goes at Barbican Theatre

Best Actor in a Supporting Role

Fred Davis, Daisy Franks, Romina Hytten, Tom Larkin, Habib Nasib Nader, Tom Stacy and Scarlet Wilderink – the 7 actors who play the Tiger for Life Of Pi at Wyndham’s Theatre

Best Actress in a Supporting Role

Liz Carr for The Normal Heart at National Theatre - Olivier

Blue-I Theatre Technology Award for Best Set Design

Tim Hatley for Design and Nick Barnes & Finn Caldwell for Puppets for Life Of Pi at Wyndham’s Theatre

White Light Award for Best Lighting Design

Tim Lutkin and Andrzej Goulding for Life Of Pi at Wyndham’s Theatre

Best Actress In A Supporting Role In A Musical

Liza Sadovy for Cabaret at The Kit Kat Club at the Playhouse Theatre

Best Actor In A Supporting Role In A Musical

Elliot Levey for Cabaret at The Kit Kat Club at the Playhouse Theatre

Outstanding Achievement In Opera

Peter Whelan and the Irish Baroque Orchestra for Bajazet at Royal Opera House - Linbury Theatre

Best New Opera Production

Jenůfa by Royal Opera at Royal Opera House

Best Actor In A Musical

Eddie Redmayne for Cabaret at The Kit Kat Club at the Playhouse Theatre

Best Actress In A Musical

Jessie Buckley for Cabaret at The Kit Kat Club at the Playhouse Theatre

Outstanding Achievement In Dance

Arielle Smith for her choreography of Jolly Folly in Reunion by English National Ballet at Sadler’s Wells

Best New Dance Production

Revisor by Crystal Pite and Jonathon Young / Kidd Pivot at Sadler’s Wells

Best Actress

Sheila Atim for Constellations - Donmar Warehouse at Vaudeville Theatre

Best Actor

Hiran Abeysekera for Life Of Pi at Wyndham’s Theatre

Sir Peter Hall Award for Best Director

Rebecca Frecknall for Cabaret at The Kit Kat Club at the Playhouse Theatre

Outstanding Achievement in Affiliate Theatre

Old Bridge at Bush Theatre

Best Family Show

Wolf Witch Giant Fairy at Royal Opera House - Linbury Theatre

Best New Play

Life Of Pi at Wyndham’s Theatre

Mastercard Best New Musical

Back To The Future - The Musical at Adelphi Theatre

Kristen Stewart Shares Her Take On Emma Corrin's Portrayal Of Princess Diana

Emma Corrin Shares Epic Behind-The-Scenes Snaps With Harry Styles As New Film Wraps Production

from HuffPost UK - Athena2 - All Entries (Public) https://ift.tt/E7hRDoz via IFTTT

#IFTTT #HuffPost UK - Athena2 - All Entries (Public)

0 notes