Author Archives: Jenni Hogan

Traditionally, in opera, the orchestra are separated and hidden physically in the pit whilst the conductor mediates between the two parties. As such, Heile (2020, p222) suggests that instrumental performance is a closer relation to Experimental Music Theatre than opera. Further to this, in the same article, Heile explores the idea that Kagel uses dissonanceContinue reading “Embodied performance techniques signal narrative aspects of Song of Rednessand Visions in Robe, a fashion opera by Alastair White”

I need, according to my supervisor Scott, to have a quick answer to hand about what my PhD is about. Something that I could just quickly get through over a pint in the pub. To that end… Movement is inherent in music; we move to generate sound, sound then moves in waves, we then dance/tapContinue reading “Aspiring to a chat in the pub about anything”

Last night we went to see the ENO’s new production of the The Mask Of Orpheus. It was originally staged in 1986, and has not been fully restaged since, although it has been fairly well mythologised by the contemporary music community ever since as far as I can tell. It definitely won great critical acclaimContinue reading “Mask of Orpheus Review”

Ecovisionaries; Saved by the Jellyfish This exhibition at the R.A. has suffered some pretty bad reviews, two or three stars at best, and generally a lot of accusations of virtue signalling, obliqueness and preaching to the choir. In some ways I agree and in some I think reviewers are jumping on the bandwagon a bit. Continue reading “EcoVisionaries”