Evangelia Rigaki has a diverse composition portfolio ranging from instrumental works to experimental music theatre, opera and dance. She is intrigued by theatricality and collaboration with musicians, singers, performance artists, poets and directors. Her compositions are rooted in instrumental theatre and experimental music theatre. Evangelia is a lecturer in Composition at Trinity College Dublin where she is also the Director of the Music Composition Centre and the Director of the MPhil Programme in Composition.
W.N. Herbert is a highly versatile poet who writes both in English and Scots. Born in Dundee, he established his reputation with two English/Scots collections from Bloodaxe, Forked Tongue (1994) and Cabaret McGonagall (1996), followed by The Laurelude (1998), The Big Bumper Book of Troy (2002), Bad Shaman Blues (2006) and Omnesia (2013). He has also published a critical study, To Circumjack MacDiarmid (OUP, 1992). His practical guide Writing Poetry was published by Routledge in 2010. He co-edited Strong Words: modern poets on modern poetry (Bloodaxe Books, 2000) with Matthew Hollis, and Jade Ladder: Contemporary Chinese Poetry (Bloodaxe Books, 2012) with Yang Lian. Born in Dundee, he is Professor of Poetry and Creative Writing at Newcastle University and lives in a lighthouse overlooking the River Tyne at North Shields. Twice shortlisted for the T.S. Eliot Prize, his collections have also been shortlisted for the Forward Prize, McVities Prize, Saltire Awards and Saltire Society Scottish Book of the Year Award. Four are Poetry Book Society Recommendations.
John Lloyd Davies has worked throughout the UK, Europe and the US as director, designer and lighting designer of over a hundred productions of both opera and theatre, including directing The Rape of Lucretia and Il re pastore for The Royal Opera, Covent Garden, and the world premiere of Bonnie Greer and Errollyn Wallen’s ‘Yes’ for ROH2; Ariadne auf Naxos and Salome (Dallas Opera), Der Rosenkavalier (Dortmund), and Maria de Buenos Aires for Long Beach Opera in Los Angeles. He has directed, designed & lit over a hundred productions, including Madama Butterfly at the Royal Danish Opera, Copenhagen, Un Ballo in Maschera and Die Zauberflöte (Klagenfurt), and Tosca (Malmö). Other work includes Albert Herring and The Turn of the Screw (Aldeburgh), Cabaret (Graz), and Tchaikovsky’s The Enchantress (Brighton Festival), as well as designing Racine’s Phaedra (Vienna), Tales of Hoffmann (Nürnberg), Don Giovanni and Falstaff (Dortmund) and Der Talisman (Salzburg).
Lindy Tennent-Brown was born and raised in New Zealand. She is one of the leading pianists of her generation and is proud to be a flag-bearer for musical iconoclasm and creativity in performance. Believing a sound technique to be the fundamental basis of musical choice, Lindy maintains an awesome and slightly crazy portfolio of work, from solo recitals and chamber music through to the development of new opera and music theatre. Lindy has established herself as a versatile and inventive performer and musical facilitator. She cut her operatic teeth playing Mozart, Puccini, Donizetti, Strauss, Stravinsky, Britten and Knussen for the likes of Glyndebourne Touring Opera, Aldeburgh Productions, English National Opera, Opera Holland Park, and Garsington Opera under a number of distinguished conductors. Lindy has an evangelical passion for contemporary music of all flavours and the consequent nurturing of young composers, and worked alongside Dominic Muldowney on the development of contemporary opera for the Royal Opera House, Covent Garden from 2009. For three years (2010-12) she was Music Director of EXPOSURE, a series of new opera scratch nights at the Linbury Studio Theatre, ROH. She was Music Director for The Owl and the Pussycat by Anne Dudley and Terry Jones for the Mayor of London’s Secret London Festival 2012, and Assistant Music Director for Shoes by Richard Thomas at Sadlers Wells in the summer of 2010.