Denis & Katya made its french premiere a few weeks ago in a new french-language version at the Opéra National Montpellier. The production featured soprano Chloé Briot and baritone Elliot Madore, and cellists from the Orchestre National Montpellier. Ted Huffman directed the production, based on the Philadelphia production from 2019, with lights and set by Andrew Liebermann, video by Pierre Martin, sound by Max Hunter and music direction by Tim Anderson. Opéra National Montpellier were co-commissioners of the opera, and these performances were postponed from May because of Covid. Luckily, this meant that the performances in July became part of the Radio France Festival Occitanie, and the opera was later broadcast on France Musique.
Reviews in the french press have been very positive. Here are some excerpts, all machine-translated from french:
Opéra Orchestre National Montpellier have made two little videos taking a peek behind the scenes of the production of Denis & Katya. Episode 1 features interviews with me and Ted about the show (mostly in english) and Episode 2 features interviews with the cast: soprano Chloé Briot and baritone Elliot Madore (mostly in french). Here are the videos:
Musica Festival in Strasbourg has just announced its 2021 programme, and I’m delighted to say there will be a portrait concert of my work in the festival on 1st October. The concert will be performed by Lovemusic, with guest artists Grace Durham (mezzo-soprano), Andreas Borregaard (accordion) and Romain Pageard as the host of the evening. The show is called Talking Music, and will feature Klaviertrio im Geiste, Illusions, My Favourite Piece is the Goldberg Variations and Numbers 91—95 alongside the world premiere of two new settings of Simon Howard’s Numbers: Numbers 81—85 and Numbers 96—100. These new pieces have been commissioned by Musica Festival, Festival d’Automne in Paris, and Lovemusic. Oscar Lozano Pérez will be making video projections and mise-en-espace for the show. Talking Music will be repeated in Paris on 26th October in Theatre de la Ville / Espace Cardin, as part of a larger feature on my work in the Festival d’Automne.
My Favourite Piece is the Goldberg Variations is based on interviews with Susanne Borregaard (Andreas’ mother). From this interview material, we formed eleven snapshots of a life over seven decades, which is presented in 25 minutes by the accordionist turned storyteller-troubadour. The piece is dedicated to Susanne Borregaard with great appreciation for her contribution. The commission was supported by the Norwegian Academy of Music.
I am delighted to say that I have won an Ivor Novello Award for Denis & Katya in the Stage Works category of the 2020 Ivors Composers Awards. The awards ceremony was not a public event this year, due to Covid-19, but instead the announcement was made live on BBC Radio 3 on 1st December 2020 in a special programme.
Denis & Katya is my second opera, which was premiered in Philadelphia in September 2019, and was performed in Wales and London in March 2020 — one of the last performances to take place in London before Covid-19 hit.
Music Theatre Wales tour of Denis & Katya is now complete. The show went to Newport, Mold and Aberystwyth in Wales, followed by two nights at the Purcell Room in the Southbank Centre, London. Unfortunately the scheduled performance in Cardiff on 27th March was cancelled due to coronavirus closures.
The response to the tour was outstanding, from public and critics alike. Here are some links to reviews:
“It’s a bleak and brilliant piece – its expressiveness lies in its estranged, documentary style. The final video of the location from a moving train is shattering, etching Denis and Katya into our consciousness through opera as inventive as it is searching and direct.” — The Stage
“Venables turns real-life tragedy into chilling opera” — The Guardian
“a ruthlessly original piece that exposes our modern world of internet dependence as cruel and deeply benighted…. — this 70-minute one-acter, co-created with the writer Ted Huffman, drastically revises the operatic genre.”— The Sunday Times
“a bracingly original and bleakly powerful one-act opera” — The Telegraph
“disturbing story with true emotional weight”— The Times
“Denis & Katya is a lean, provocative, even playful affair – as far from the operatic tradition of tragic romance as it would be possible to imagine: an opera not about a story but about storytelling itself, drawing us in then pushing us away in a slickly choreographed meta-theatrical dance.”— Broadway World
Denis & Katya has been shortlisted for the World Premiere award at the 2020 International Opera Awards. Others shortlisted include Anthropoceneby Stuart MacRae and Louise Welsh and p r i s mby Ellen Reid and Roxie Perkins. The awards ceremony was due to take place on 4th May at Sadler’s Wells Theatre in London, but it has now been postponed to 21st September. Fingers crossed!
Some production images from the Opéra National du Rhin / Royal Opera production of 4.48 Psychosis, September 2019. Directed by Ted Huffman, Design by Hannah Clark, Video by Pierre Martin, Light by D.M. Wood, Sound by Sound Intermedia and Fight Direction by RC-Annie. The performers featured in the photos are Gweneth-Ann Rand, Robyn Allegra Parton, Susanna Hurrell, Samantha Price, Rachael Lloyd and Lucy Schaufer, with the Orchestre Philharmonique de Strasbourg conducted by Richard Baker. All images taken by Klara Beck. They can be used for press purposes with the appropriate credit.
Some production images from the Opera Philadelphia production of Denis & Katya, September 2019. Directed by Ted Huffman, Design & Light by Andrew Lieberman, Video by Pierre Martin Oriol, Costumes by Millie Hiibel. The performers featured in the photos are the UK Cast, Emily Edmonds and Johnny Herford, with cellists Branson Yeast, Rose Bart, Jean Kim and Jennie Lorenzo. All images as thumbnails here taken by Pierre Martin Oriol: please contact him here to request usage.
We sent Denis & Katya out into the world on 18th September at the premiere at Suzanne Roberts Theater in Philadelphia with Opera Philadephia. Scored for just two singers, four cellos and pre-recorded sound and video, the 65-minute pseudo-verbatim opera tells the story of two Russian teenagers who, while caught up with the police after running away from home, broadcast their last days online. Ted Huffman and I are so proud of what we’ve made, and it wouldn’t have been possible without our incredible collaborators Ksenia Ravvina, Pierre Martin, Rob Kaplowitz, Andrew Lieberman and Emily Senturia, all the team at Opera Philadephia, led by the exceptional David Devan, and our two dedicated, talented casts (Siena Licht Miller, Theo Hoffman and Emily Edmonds, Johnny Herford), our cello ensemble and technical crew.
The response to Denis & Katya by the press has been incredible. Here are a small selection of reviews.
“Most important for the long-term health of the art was the première, at Opera Philadelphia, of Philip Venables’s “Denis & Katya,”based on the real-life story of two Russian teen-agers who died after a standoff with police. With extraordinary sensitivity, Venables examined the fallout of viral Internet fame and media frenzy. […] What is remarkable about “Denis & Katya”is how it explores the psychological roots of our fixation on such sad and gruesome cases. […] Venables’s way of building tension through minimal means is astonishing throughout.”
“The result of all these elements is an uneasily poignant reflection on storytelling, on the possibilities and limitations of our understanding — especially across space and language in the fragmentary era of social media. At just over an hour, with just six performers, it’s an intimate, haunting triumph.”
“Employing the most slimly elegant resources, Festival O’s Denis & Katya is a monumental, dramatically shattering event.” […] “This is an important, out-of-the-box work, superbly performed. Denis & Katya deserves to have a long afterlife, and with luck, it will. But if you can see one of the remaining performances here at Festival O19, you absolutely should. It is utterly spellbinding.”
“Opera Philadelphia opened its Festival O19 Wednesday on a level that eclipsed the expectations created by the unusually high success rate of past festivals, this time with the world premiere of Denis & Katya. Highly experimental in its manner, the piece exudes great confidence of purpose plus gritty, thoughtful artistry”
“The arresting world premiere of “Denis & Katya†by composer Philip Venables and librettist Ted Huffman tackled a real-life fatal collision of unhappy teenagers, guns and social media. In 2016 in Russia, the eponymous couple, both 15 years old, ran away from home, holed up in a family hunting cottage, and posted photos and a video of their standoff with the police on social media. The 70-minute opera ingeniously deconstructs this event, recounting it through the eyes of six observers” […] “As was the case with his shattering “4.48 Psychosis,”Mr. Venables’s music is particularly good at conjuring up emotional atmosphere and building tension. The piece starts out almost boringly placid, with the singers describing bits of the video in flattened speech, and gradually gathers momentum to reach an almost unbearable peak, followed by a reflective coda.”
“Exactly what happened to Denis and Katya remains conjectural; Huffman and Venables takes pains to thematize the complexities and complicities inherent in their having created—and in our observing—the resulting opera.” […] “Denis & Katya may not assuage those Philadelphia operagoers still awaiting the return of Tebaldi, Tucker and Corelli performing Verdi and Puccini in front of faded painted panels. But it’s an impactful work of music theater that OP executed with admirable visual and aural precision and imagination.”
“Composer Philip Venables and Librettist Ted Huffman’s unsettling, unconventional new opera Denis & Katya challenges the ear, the eye, and the soul to accept a wholly new hybrid form of operatic expression. This is a performance quite unlike any most have ever experienced.” […] “Mr. Venables’ score is a wholly unique aural palette. The deep, often mournful keening of the cello sound grounds the composition in a suitable Russian melancholy. But there are ample flashes of brilliant overtones, and agitated writing as well to complement the often declamatory, angular vocal lines. It was a pleasure to encounter a composer new to me, whose work was forward-looking, yet abundantly accessible.”
“Denis and Katya, a striking music drama receiving its world premiere as part of Festival O19, might stake a claim as the opera that most closely captures the 21st century’s virtual-reality ethos. The 70-minute work—crafted by composer Philip Venables and librettist/director Ted Huffman, with the aid of translator Ksenia Ravvina—is easily the best original offering I’ve encountered since Opera Philadelphia started presenting these festivals three seasons ago. Rarely has a work felt so connected to the culture in which it was created.”
Denis & Katya, my second opera, has been awarded the prestigious Fedora Generali Prize for Opera this year. The prize was awarded at the Teatro la Fenice in Venice at a special awards ceremony on 28th June. The prize is awarded to contemporary opera that is currently being developed which takes risks or break conventions somehow. The prize money of 150,000€ goes to Opera Philadelphia in support of the development costs of Denis & Katya.
The ceremony was a grand affair, with a performance and reception afterwards. I’m very grateful to the Fedora Prize, the Jury who selected our project, and of course to Opera Philadelphia, Ted Huffman and our team who is making this project so exciting to work on. The premiere of Denis & Katya is on 18th September 2019 in Philadelphia, and will be followed by productions in the UK with Music Theatre Wales and in France with Opéra National Montpellier.
Here is a video with David Devan, CEO of Opera Philadelphia, talking about the Fedora Generali Prize for Opera.
Semperoper in Dresden have announced more dates next season for their production of 4.48 Psychose. The opera had its german premiere run in Semper Zwei in April/May this year, with sold-out performances. The dates next season will be 7th, 9th, 10th, 13th and 15th September, and tickets can be booked here.
Sempoeroper have made a new video trailer of the production using rehearsal footage, which you can watch, above.
My new latest music theatre piece, Denis & Katya, has been announced for its premiere production with the lead commissioner Opera Philadelphia.  The work has been conceived and written with my long-time collaborator, Ted Huffman.  It is pseudo-documentary music theatre, taking a true story about two Russian teenagers who died in November 2016 after a stand-off with armed police.  It looks at the way the internet played a role in their death, and more generally, about how we interact with each other and show empathy in the internet age.  We hope that the form of the piece is particularly exciting in the way that it tells the story.
Denis & Katya will also your the UK in February/March 2020 with Music Theatre Wales, including the London performances at the Southbank Centre, and the piece will make its french premiere in Montpellier. Music Theatre Wales and Montpellier Opera are both co-commissioners with Opera Philadelphia.  More information about the piece and ticket booking is here, and the London performances are available to book here.
Denis & Katya has also been shortlisted for the prestigious Fedora Prize. Â The prize-giving ceremony is on June 28th in Venice.
From 6th—10th May, I will be the featured composer at the PLUG Festival, a contemporary music festival at the Royal Conservatoire of Scotland in Glasgow. The PLUG Festival predominantly features the work of student composers from the conservatoire in an packed schedule of chamber concerts. I will be giving some consultation lessons to young composers there, and presenting a seminar on my work. On the final night of the festival, the Glasgow New Music Expedition will perform Illusions alongside some other new works by both students and established composers, all conducted by Richard Baker.
Some production images from the Prototype Festival / Royal Opera production of 4.48 Psychosis, January 2019. Directed by Ted Huffman, Design by Hannah Clark, Video by Pierre Martin, Light by D.M. Wood, Sound by Sound Intermedia and Fight Direction by RC-Annie. The performers featured in the photos are Gweneth-Ann Rand, Lucy Hall, Susanna Hurrell, Samantha Price, Rachael Lloyd and Lucy Schaufer, with the Contemporaneous Ensemble conducted by William Cole. All images taken by Paula Court. They can be used for press purposes with the appropriate credit.
4.48 Psychosis made its american premiere in New York City a few weeks ago at the Prototype Festival. The exceptional cast, orchestra and crew gave six performances of the Royal Opera production (directed by Ted Huffman) over eight days in the Baruch Performing Arts Centre. The performances were sold out, and the response from the press was incredible. Here is a small selection.
“there was no denying the sledgehammer power of Philip Venables’s “4.48 Psychosis”[…] Venables’s bent for politically charged topics is all the more conspicuous because of his frequent use of speaking voices, which are coördinated with rapid-fire instrumental lines. Yet he is also a composer of considerable refinement, who can weave ethereal textures from a few carefully chosen pitches. This combination of savagery and economy makes for an arrestingly original musical personality.” — Alex Ross, The New Yorker
“In his opera, which had its premiere with the Royal Opera in London in 2016, the composer Philip Venables has found in Kane’s material a landscape of iciness and sensitivity, in which speaking and singing flow into one another with uncanny ease. […] All in all, this “4.48”avoids neither the text’s moments of pitch-black humor nor its passages of luminous air; it doesn’t prettify Kane, nor does it make her brutality unendurable. Elegantly ferocious, it is this unclassifiable play as music.” — Zachary Woolfe, The New York Times
“Despite violence, Venables gives a rendering of depression that accentuates tenacity, intelligence, and humanity.” — Lana Norris, I Care If You Listen.
“Venables takes full advantage of the play’s meandering stream-of-consciousness in a searing, kaleidoscopic score which foregrounds the lyricism and brutality of Kane’s text. Venables’ score has an unremitting intensity, endowing Kane’s play with a visceral impact so often missing from theatrical productions of the work. Textual contrasts are pushed to extremes in a score that alternates between Artaudian delirium and baroque detachment. […] Ultimately, 4.48 Psychosis is a heart-stopping, utterly devastating night at the opera, not to be missed.” — Callum John Blackmore, Parterre Box
I have been awarded a month-long residency at the Watermill Center in the Hamptons, NY, in January 2019.  I will take up the residency with Ted Huffman, and together we will spend the month working on our new opera, Denis & Katya.  The Watermill Center was founded by director Robert Wilson to provide space for visual artists, theatre makers, composers and dancers to develop new work.  Immediately after the residency we travel to Philadelphia for the first round of workshops on the new opera.
My new latest music theatre piece, 
