The Rape of Lucretia Cast and Creatives

Jack Symonds – Conductor

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Jack Symonds is a composer, conductor and accompanist, and Artistic Director of Sydney Chamber Opera. He studied composition at the Royal College of Music, London under Kenneth Hesketh and at the Sydney Conservatorium of Music where he received the University Medal. Trained also as a pianist and trombonist, he continues to work regularly as an accompanist and pianist, giving the premiere of many new works as well as frequently conducting his own and others’ music, including Britten’s Owen Wingrave (2013- Australian premiere) & The Turn of the Screw (2010), Dusapin’s Passion & O Mensch! (2016 Sydney Festival- Australian premieres), Romitelli’s An Index of Metals with Ensemble Offspring (2015), Benjamin’s Into the Little Hill & Kurtág’s … pas à pas- nulle part… (2014 Sydney Festival), Maxwell Davies’s The Lighthouse (2012), Kancheli’s Exil(2013) and Jonathan Dove’s chamber version of Janacek’s The Cunning Little Vixen (2011- Australian premiere). He has also conducted the world premieres of Elliott Gyger’s Fly Away Peter and Michael Smetanin’s Mayakovsky.

Significant composition premieres include Climbing Toward Midnight, a chamber opera re-imagining the second act of Wagner’s Parsifal, a piece for New York’s JACK Quartet, the Dostoevsky opera Notes from Underground (2011, and re-written 2016 for Carriageworks), Decadent Purity, a double concerto for BIFEM, stage work Nunc Dimittis, (2011), the song cycle Time Unredeemed (2010), a large-scale work for viola and piano, Song Cycle, written for violist James Wannan (2011), Sunless Communion (2013) for the Composers Ensemble at Dartington where he studied with Detlev Glanert as well as new pieces for Timo-Veikko Valve, Jane Sheldon, two works for Australia Piano Quartet, the Streeton Trio, cellist Patrick Murphy, and a concert series curated around his music by Affinity Collective which included three premieres.

His first album of chamber music was released on Hospital Hill in August 2016.


Kip Williams – Director

Kip was recently appointed Artistic Director of Sydney Theatre Company and is one of Australia’s most exciting young directors for theatre, opera and film.

Kip has directed several productions for Sydney Chamber Opera including the double bill Ich Habe Genug and Nunc Dimittis, the song cycle Through the Gates (also for the 18th Biennale of Sydney), Romitelli’s An Index of Metals and the acclaimed production of The Lighthouse. While at Sydney Theatre Company, Kip’s work includes; Cloud Nine, Chimerica (Helpmann nominated), A Midsummer Night’s Dream, The Golden Age, Macbeth, Children of the Sun, Romeo and Juliet, Under Milkwood, All my Sons, Suddenly Last Summer, winning the 2015 Helpmann Award for Best Director of a Play, Cyrano De Bergerac as Associate Director with Andrew Upton and Love and Information (Malthouse Theatre co-production), which garnered him a Helpmann nomination for Best Director of a Play, and nominations for Best Director at the Sydney Theatre Awards and Melbourne’s Green Room Awards. His other theatre credits include; Miss Julie (Melbourne Theatre Company); Lord of the Flies (Malthouse Helium and US-A-UM); Fallout (Tamarama Rock Surfers) and 1001 Nights (Sydney Writers’ Festival). Fifth of July (Princeton Theatre, New Jersey); One for the Road (National Theatre, Melbourne) and for NIDA he directed productions of Cloud 9, Lord of the Flies and Samuel Beckett’s Not I. Kip has worked on a number of screen projects, including the short films B, Bee & Mee and Walk; and music videos Little Fingers and Botanist for the band Guineafowl, the latter of which was listed in ABC’s inaugural RAGE 50, an annual list of the best music videos for the year.


Elizabeth Gadsby – Associate Director & Costume Designer

Elizabeth is a set and costume designer with a background in installation and performance art. She holds a Bachelor of Fine Arts (Painting) from National Art School and a Bachelor of Dramatic Arts (Design) from NIDA.

Her designs for opera include, An Index of Metals, Fly Away Peter (Sydney Chamber Opera including Melbourne Festival tour). Orfeo Ed Euridice (Spectrum Now Festival); Bach, Coffee, Cake (Little Baroque Co, London Handel Festival), BREMF (Newbury Festival, Petworth Festivals) Elizabeth is currently resident designer at Sydney Theatre Company, where she has designed set and costume for Dinner, Cloud 9, The Testament of Mary, The Hanging and Disgraced. Other theatre designs include: Cinderella (Belvoir) A Rabbit for Kim Jong-Il (Griffin Theatre); John (Melbourne Theatre Company); Cut (Adelaide Fringe and Edinburgh Fringe); and Deluge (Adelaide Festival). Elizabeth’s designs for dance include: Epic Fail (Perth International Arts Festival and WA Ballet); ECOBOTS, Plain Jane (Buzz Dance Theatre and Awesome Festival). Plain Jane then went on to tour with Louisville Ballet. Elizabeth designed an interactive film called Love at Fifth Site for 2017 Adelaide Festival presented by Google’s Creative Lab and Grumpy Sailor. She has also designed the event space at the MCA for VIVID IDEAS. Elizabeth is a recent recipient of an Australia Council Art Start Grant, a William Fletcher Scholar and was 2015 artist in residence for City of Sydney’s Creative Living Work Space program.


David Fleischer – Set Designer

David is a set and costume designer working across theatre, opera and dance throughout Australia.

He has worked extensively with Sydney Theatre Company, and most recently has designed Chimerica (set), Australian Graffiti and Speed The Plow (set and costumes). Other career highlights include: Scenes From a Marriage for Queensland Theatre; Rafael Bonachela’s Ocho for Sydney Dance Company; Power Plays, The Golden Age, Boys Will Be Boys, Children of the Sun (set), Mojo (costume), Machinal, Romeo and Juliet, Fury, Little Mercy, Marriage Blanc (set) and Under Milk Wood (associate design) for STC; Calpurnia Descending and Love and Information for Malthouse Theatre; Hedda Gabler for Belvoir St Theatre (costume); L’Amant Jaloux (set) and Griselda for Pinchgut Opera; Safety in Numbers, for Riverside Parramatta; Between Two WavesThe Sea Project and The Brother’s Size for Griffin Theatre; and Pictures of A One Night Stand for Sydney Dance company’s New Breed in 2009. David was co-resident designer for STC in 2012-2013.

He is also the recipient of the recent Kristian Fredrikson scholarship.


Damien Cooper – Lighting Designer

Damien works internationally across opera, theatre and dance.

For opera, Damien’s designs include The Merry Widow (WAO,OA & OQ), Der Ring des Nibelungen, Aida, Cosi Fan Tutte (Opera Australia); Peter Grimes (Opera Australia/Canadian Opera Company/Houston Grand Opera); Mountain (ACO), A Midsummer Night’s Dream (Chicago Lyric Opera/Houston Grand Opera/Canadian Opera Company); The Magic Flute (Lyric Opera Chicago); and Chorus! (Houston Grand Opera). His theatre credits include Mark Colvin’s Kidney, The Dog/The Cat, Radiance, The Glass Menagerie, Coranderrk, Miss Julie, Stories I Want to Tell You in Person, Cat on a Hot Tin Roof, Peter Pan, Private Lives, Conversation Piece, Strange Interlude, Summer of the Seventeenth Doll, Neighbourhood Watch, The Seagull, Gethsemane, Keating!, Toy Symphony, Peribanez, Stuff Happens, The Chairs, The Spook, In Our Name, The Underpants, The Ham Funeral (Belvoir) and Exit the King (Belvoir, Malthouse & MTC co-pro including Broadway transfer). Dinner, Disgraced, Orlando, Arcadia, A Midsummer Night’s Dream, The Golden Age, Suddenly Last Summer, The Women of Troy, The Lost Echo, Riflemind, Tot Mom (Sydney Theatre Company); and The Tempest (Bell Shakespeare). His designs for dance include The Beginning of Nature (Australian Dance Theatre); Orb (Sydney Dance Company); Swan Lake, The Narrative of Nothing, Firebird (Australian Ballet); Am I (Shaun Parker & Company); Affinity (Tasdance); Mortal Engine (Chunky Move); and Of Earth and Sky (Bangarra Dance Theatre). For lighting design, Damien has won three Sydney Theatre Awards, three Green Room Awards, and the inaugural Australian Production Designers Guild Award for Lighting Design for his work on Der Ring des Nibelungen.


Andrew Goodwin – Male Chorus

Andrew Goodwin has appeared with orchestras and opera companies in Europe, the UK, Asia and Australia, including the Bolshoi Opera, Gran Theatre Liceu Barcelona, Teatro Real Madrid, La Scala Milan and Opera Australia.

On the concert platform he has toured with the St Petersburg Philharmonic Orchestra with Maestro Temirkanov, performed with the Adelaide, Melbourne, Queensland and Sydney Symphony Orchestras, Moscow Chamber Orchestra, Sydney Philharmonia Choirs and given recitals with pianist Daniel de Borah at the Wigmore Hall. He has also appeared at numerous festivals, including the Oxford Lieder, Port Fairy, Huntington, Coriole, Canberra, and Australian International Festival of Chamber Music, Townsville

Recent engagements have included: Bach’s Magnificat and the title role in The Rake’s Progress (Auckland Philharmonia Orchestra); Mozart’s Litaniae de venerabili altaris sacramento (Sydney Symphony Orchestra); Lyle Chan’s My Dear Benjamin (Queensland Symphony Orchestra); Britten’s Serenade for Tenor and Horn (Adelaide and Melbourne Symphony Orchestras); Egeo in Cavalli’s Giasone and Florival in Grétry’s L’amant jaloux (Pinchgut Opera); recitals with Daniel de Borah at the Melbourne Recital Centre; the Evangelist in St Matthew Passion with the Melbourne Bach Choir; a recital with pianist Mira Yevtich at the Concert Hall of the Mariinsky Theatre, St Petersburg; Degtyarev’s Russian oratorio Minin i Pojarsky with the Moscow Chamber Orchestra; Lensky (Eugene Onegin) and Tamino (The Magic Flute) with the Bolshoi Opera; Messiah for Sydney Philharmonia and Royal Melbourne Philharmonic Society; and Bach’s B Minor Mass with The Song Company.

His 2017 engagements include Biographica (Sydney Chamber Opera); Prima Donna (Wainwright) for Adelaide Festival; Evangelist, St. John Passion for Melbourne Bach Choir; Mozart’s Requiem (Melbourne Symphony Orchestra), Handel’s Ode for St. Cecilia’s Day (Auckland Philharmonia Orchestra), Dream of Gerontius and Messiah (Sydney Philharmonia Choirs), and appearances with the Melbourne Chamber Orchestra, Australian Piano Quartet and at the Coriole Festival and Adam Chamber Music Festival, New Zealand.


Celeste Lazarenko – Female Chorus

Celeste Lazarenko has masters Degrees in performance from both the Guildhall London, and the Sydney Conservatorium of Music.

Celeste’s European engagements included Ninfa (L’Orfeo) for Opera North, Hydrogen Jukebox by Phillip Glass for Angers/Nantes Opera Company, Celia (Lucio Silla) for Angers Nantes and Opera de Rennes, The Seasons for Dijon Opera, Morgana (Alcina) for English Touring Opera, Sandrina (La finta giardiniera) for Opera de Bauge, and Mary in Vaughan Williams’ Hugh the Drover for East Sussex Opera Company.

Celeste also worked extensively for English National Opera while living in London covering the title role of Partenope, the role of Nora (Riders to the Sea), the soprano solo (Luonnotar), Clemence (L’Amour de Loin) and Polissena (Radamisto).

Since returning to Australia Celeste has performed Donna Anna in Don Giovanni, Pamina in The Magic Flute and Susanna in The Marriage of Figaro for Opera Australia’s touring productions. She has also appeared as a soloist with the Sydney Philharmonia in St Matthew Passion and Israel in Egypt, in concert with the Australian Haydn Ensemble.

She has performed the roles of Télaïre in Castor et Pollux (Rameau), Medea in Giasone (Cavalli), and Leonore in L’amant jaloux (André Grétry), for Pinchgut Opera.

Celeste has recently performed the title role in The Cunning Little Vixen for Victorian Opera and will make her debut with New Zealand Symphony Orchestra in Messiah, December 2017. She will also perform with the Sydney Symphony Orchestra in 2018.


Anna Dowsley – Lucretia

Anna Dowsley has established herself as one of the most exciting mezzo-sopranos to emerge from Australia in recent years.

During 2016, Anna performed major roles for Opera Australia including Dorabella(in Sir David McVicar’s new production of Così fan tutte)and Rosina (Il barbiere di Siviglia). Other Opera Australia roles include Cherubino (Le Nozze di Figaro), Siebel (Faust), Papagena (The Magic Flute), Tebaldo (Don Carlos) and Zaida (Il Turco in Italia); the latter two roles awarding Anna Green Room Award nominations. For Sydney Chamber Opera she has performed Bach’s Ich habe genugand Lapak (The Cunning Little Vixen).

Anna was the recipient of the 2012 Marianne Mathy Scholarship (Australian Singing Competition) and more recently Anna participated in the final round of the 2015 Neue Stimmen Competition and subsequent 2016 Masterclass program in Germany. In the 2017 Australian Opera Awards, Anna was awarded the Britten-Pears Young Artist prize.

Performing often with Australian choirs and orchestras, Anna’s concert repertoire includes Handel’s Messiah, Rossini’s Petite Messe Solennelle and Pergolesi’s Stabat Mater. In 2017 Anna sings in Verdi’s Requiem with the Melbourne Royal Philharmonic Orchestra and Mendelsohn’s Elijah as part of Hobart’s Festival of Voices.

For 2017, highlights include a role debut of Britten’s Lucretia (The Rape of Lucretia) for Sydney Chamber Opera, a concert performance of Opera Australia’sParsifal and performing the role of Geneviève in Sydney Symphony Orchestra’s performances of Pelléas and Mélisande under the baton of Charles Dutoit.


Nathan Lay – Tarquinius

Since graduating from the Melba Conservatorium of Music in 2008, Nathan established his career in the Melbourne opera and oratorio scene. Nathan has won the National Liederfest, Australian Music Events’ Opera Scholar of the Year, the Royal Melbourne Philharmonic Aria, and placed 3rd in the Herald Sun Aria. He has performed with Opera Australia (A Masked Ball, Aida, Falstaff, Tosca, The Pearlfishers, La Boheme), Melbourne Opera (‘Schaunard’ – La Boheme, ‘Guglielmo’ – Cosi fan tutte), and has recently completed the Victorian Opera Developing Artist Program along with his Master of Music (Opera Performance) at The University of Melbourne. During his time at Victorian Opera, Nathan performed ‘The Baker/Billy Webster’ – Sunday in the Park with George, ‘The King’ – Puss in Boots, ‘Barone Douphol’ – La traviata, ‘Father’ – Hansel and Gretel, ‘Bunyip Bluegum’ – The Magic Pudding – The Opera, ‘Young Recruit’ in Richard Mills’ Remembrance alongside David Hobson, ‘Sir Riccardo Forth’ – I Puritani, in the quartet for Weill’s Die sieben Todsünden featuring Meow Meow, ‘Le Roi’ –Cendrillon, and ‘Mr. Mayor’ in Richard Mills’ world premiere of The Pied Piper.

Nathan has performed with many of Australia’s major orchestras, such as Orchestra Victoria, Tasmanian Symphony Orchestra, The Royal Melbourne Philharmonic Orchestra, and the Australian Philharmonic Orchestra.

Nathan was the winner of the 2016 Australian International Opera Award. This prestigious prize allowed him the opportunity to study with highly acclaimed international tenor Dennis O’Neill at the Wales International Academy of Voice.

In March 2017, Nathan was involved in the inaugural release on the new Australian Sony Masterworks label. The album, titled Remembrance, features songs and poems in memory of the soldiers that fought in World War One, with Nathan featuring on ten tracks


Jeremy Kleeman – Collatinus

Jeremy Kleeman is a graduate of Victorian Opera’s Developing Artist Program, and has a Master of Music (Opera Performance) and Bachelor of Music from the Melbourne Conservatorium of Music. In 2014 and 2015, Jeremy was a scholar with Melba Opera Trust on the Joseph Sambrook Opera Scholarship, and was the 2016 recipient of the Dame Heather Begg Memorial Award.

Most recent engagements include performing in the world premiere of Hing-yan Chan’s Double Happiness in the Canberra International Music Festival, the roles of Badger and Parson in Cunning Little Vixen for Victorian Opera, Magus in baroque pasticcio Voyage to the Moon on national tour (Musica Viva/Victorian Opera) for which he received Helpmann and Green Room Award nominations; St. John Passion (Melbourne Bach Choir); St. Matthew Passion (Melbourne Bach Choir and Newcastle University Choir); Toby Raven in the operatic world premiere of Cloudstreet (State Opera of South Australia); the title role in The Marriage of Figaro (Opera Australia Tour); and Teobaldo in the Helpmann award-winning Faramondo (Brisbane Baroque).

Upcoming engagements will include soloist in Duruflé Requiem with the Melbourne Bach Choir in Melbourne and on tour in Austria, Germany and the Czech Republic, The Coronation of Poppea with Pinchgut Opera and soloist in Nielsen’s Symphony no. 3 with the Melbourne Symphony Orchestra.

Roles with Victorian Opera have included Lord Valton in I puritani, Marquis D’Obigny in La traviata, Rapunzel’s Prince in Into the Woods, Jonas Fogg in Sweeney Todd, Mother in Seven Deadly Sins, featured vocalist in Assembly for the Melbourne and Sydney Festivals (in collaboration with Chunky Move), and Albert the Pudding in the Green Room award-winning world premiere The Magic Pudding – The Opera.

Jessica O’Donoghue – Bianca

Jessica graduated with a Bachelor of Music from The University of Sydney and a Diploma of Opera from the Victorian College of the Arts. She was a Young Artist with Opera Queensland where she performed extensively as a principal artist and soloist for numerous operas, concerts, and national tours. Roles include Rosina in Il Barbiere di Siviglia, Second Lady in The Magic Flute, Gretel in Hansel & Gretel, the Sandman / Dew Fairy in Hansel & Gretel, Hero / Aphrodite in premier season of Richard Mills’ new opera The Love of the Nightingale and Adele in Die Fledermaus. During this time Jessica also spent four months as a guest Young Artist at The Royal Opera House Covent Garden (London) where she worked with some of the world’s best singers and conductors.

Jessica was a solo vocalist in the contemporary music/dance show AM I, which had a sell out season at the Sydney Opera House in January 2014 as part of the Sydney Festival before featuring at APAM in Brisbane, the Adelaide Festival Theatre for the Adelaide Arts Festival and the Malthouse in Melbourne. Jessica then toured internationally with the AM I show throughout Europe and Asia in 2015.

In 2014 Jessica sang Lili in Michael Smetanin’s new opera Mayakovsky with Sydney Chamber Opera Company. She returned to the company in 2016 to play The Strong Woman in their new production of Victory Over the Sun and in 2017 as Chiara in Biographica.

In 2017 Jessica made her debut appearance with The Song Company for two of their concerts Sticks and Stones and Forward and Bach.

Jessica regularly appears at special events, concerts and festivals including guest performances at Carols in the Domain, singing the UK National Anthem at the SCG for the Ashes Cricket Series, and featuring at Sydney’s VIVID Festival with the well known pop group CODA. Jessica has also written and recorded her debut solo EP which was released in June 2017.


Jane Sheldon – Lucia

Australian-American soprano Jane Sheldon specialises in new chamber music. Praised by the New York Times for singing “sublimely”, the Washington Post for “a stunning performance”, and The Australian for bringing “mesmerising emotional truth” to her work, she has appeared with acclaimed ensembles across the globe, including the London Philharmonic Orchestra, Pinchgut Opera, Boston Camerata, the Australian Brandenburg Orchestra, Synergy Percussion, Talea Ensemble, Sound Icon, Ekmeles, and the Australian String Quartet. Jane is also a member of the international touring ensemble for composer John Zorn. She has appeared at international arts festivals such as the Adelaide Festival, Sydney Festival, Jerusalem Sacred Music Festival, Lincoln Center Festival, and the Huddersfield Contemporary Music Festival. She is the director of Symbioses, a travelling chamber music series focused on new duos and trios, the co-director of Resonant Bodies in Australia, with Jessica Aszodi, and is an Artistic Associate of Sydney Chamber Opera. Upcoming engagements include the Bendigo International Festival of Exploratory Music, Symbiosis IV at Sydney’s Backstage Music, performances of John Zorn’s music at festivals in Sarajevo and the Netherlands, and the Prototype Festival for new opera in New York City.


Simon Lobelson – Junius

Born in Sydney of Egyptian parents and brought up in Brussels, Simon Lobelson gained his Bachelor of Music with First Class Honours from the University of Sydney and completed his Opera Diploma with distinction at The Royal College of Music on scholarship, with further studies under Sir Donald McIntyre, and continued his career in the United Kingdom for 9 years. He is fluent in almost four European languages; has sung in many masterclasses for some of the most revered names in the opera world; is the recipient of numerous awards and scholarships; and has since worked as a soloist in Australia, New Zealand, the Middle East, Asia, the UK and Europe.

He has performed almost all the mainstream oratorio repertoire, and recent oratorio appearances have included Sydney Opera House, Queen Elizabeth Hall, St. Johns Smith Square, St. Martin-in-the-Fields, Birmingham Symphony Hall, Sydney Town Hall and with the London Mozart Players, Sydney Symphony Orchestra, Sydney Philharmonia Choirs, English Chamber Orchestra, Israel Camerata and the Lucerne Festival under such conductors as Pierre Boulez, Daniel Reuss, Reinbert de Leeuw, Richard Bonynge, Simon Halsey and Paul McCreesh.

Simon has performed over 70 operatic roles, with many companies including Royal Opera House Covent Garden, English National Opera, Young Vic, Pinchgut Opera and Canberra International Music Festival, amongst which have been Amfortas, Escamillo, Rigoletto, Alberich, Nick Shadow, Marcello, Ford, Germont, Figaro, Michele and Don Alfonso. He has worked with such renowned directors as Jean-Claude Auvray, Patrick Nolan, Ian Judge, John Copley, Bruno Ravella, Melly Still, Cheryl Barker and Jude Kelly.

For Sydney Chamber Opera he has performed Coyle (Owen Wingrave), Mayakovsky (Mayakovsky), Underground Man (Notes from Underground) and in Victory Over the Sun and Passion.

He has recorded for Chandos and ABC Classics and has been broadcast on Classic FM, Fine Music FM, Foxtel and BBC Radio 3. Simon is a lecturer and coach at the Sydney Conservatorium of Music, a judge for the Sydney Eisteddfod and has given masterclasses in both Australia and China.


Madeleine Humphreys – Assistant Director

Madeleine Humphreys is a Sydney-based theatre and film director. Her theatre directing credits include: Salem (Nick Enright NIDA Season), her own adaptation of The Yellow Wallpaper by Charlotte Perkins Gilman (NIDA), Machinal by Sophie Treadwell (NIDA), devised work Paralysis (NIDA), and Wolf Lullaby by Hilary Bell (NIDA). Her film and documentary credits include: Am I Perfect? (feature documentary), Jack + Jill (short film), After Dark (short film), First In Best Dress (Rage music video), Oedipus Complex (short film), Sparks (short film) and Vampires (Triple J Unearthed music video).

Madeleine graduated from the National Institute Of Dramatic Arts with a Master of Directing. Also, graduated from Queensland University of Technology with a Bachelor of Fine Arts (Film, Television and New Media Productions). She was a finalist for the 2015 Sundance Film Festival Female Filmmaker Horizon Award and has had several of her films receive festival selection and awards at the West End Film Festival, Sundance Film Festival, Cannes Film Festival, Byron Bay Film Festival and Sydney Underground Film Festival.

In 2017, Madeleine will be Resident Director at The Old Fitzroy Theatre within the New Fitz program. Awarded a development residency with NIDA at the GITIS National Arts School in Moscow. Commissioned by NIDA to direct a new work created by Madeleine Humphreys and Emme Hoy.


Huw Belling – Principle Artistic Associate

Huw Belling is a composer and conductor, and the Principal Artistic Associate of Sydney Chamber Opera. He has read for a Doctor of Philosophy in composition at St. Catherine’s College, Oxford, a Masters of Music at the Royal College of Music, London, and a Bachelor of Music (Hons) at the Conservatorium of Sydney.

Huw’s works are performed and toured in Australasia, Europe, the UK, and the Americas with commissions in the repertoire at Westminster Abbey, and the gramophone award winning Ensemble Plus Ultra. Huw has conducted premieres with Sydney Chamber Opera, and continues to produce new and established works with colleague Jack Symonds.

Recent commissions include the chamber opera Victory over the Sun commissioned by the 20th Biennale of Sydney and Sydney Chamber Opera after the lost futurist work from Russia, and Inside Mr Enderby for the Manchester Collective, for singer and string quartet with text adapted by Pierce Wilcox from the novel by Anthony Burgess. In Australia Huw has written for ensembles such as the Grainger Quartet, Ensemble Offspring, and the Australia Piano Quartet.

Huw’s research has concerned itself with rhythm in the music of Thomas Adès, and with appropriation and quotation in recent composition (his own and others’ including Robin Holloway, Wolfgang Rihm, and Alfred Schnittke). Since completing his doctorate he has been based in Sydney.

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