“An explosion of dynamic variation, energy and exciting harmonies... Styles embroiders the verse like an illuminated tapestry in sound”. Classical Source, May 2013 on the premiere of Vanity.

Next Concert: 27th Jan,8pm. Fear of Counting Forward. TAK Liechtenstein.

Unborn In America. Vault Festival. 28th Jan - 1st Feb.


Listen to How They Creep, performed by the LPO and Glyndebourne. Recording courtesy of Glyndebourne, recorded as part of the Vixen Composition Project.

Handspun, commissioned by ROH2 and premiered at the Royal Opera House Covent Garden as part of Exposure Dance, Feb 2012.

Luke Styles is a UK based composer and represented by IMG Artists. He was the first Glyndebourne Young Composer in Residence  (2011-2014) and has worked with conductors such as Vladimir Jurowski, ensembles such as the London Sinfonietta and the London Philharmonic Orchestra.

Luke’s music is played around the world with his work Handspun currently taking in London, Finland, the Czech Republic, Sweden and Panama City.

Luke is a former student of Wolfgang Rihm, George Benjamin and Detlev Muller-Siemens. His work encompases all forms and he is particularly drawn to collaborations of a theatrical nature. Read more HERE.


Unborn In America

It has been an exciting few weeks in January. I have started rehearsals for my cabaret opera Unborn In America. I am conducting the opera and it opens at the Vault Festival in London, on the 28th of Jan and runs until the 1st of Feb.

We are now into week three of rehearsals. Just like most opera processes, we began with music rehearsals (3 days worth with just the pianist and cast of four singers) and then went into production (staging the opera). Week three is primarily still about staging the opera, but towards the end of the week we will have our first orchestral rehearsal and the SITZ PROBE (a seated rehearsal where the cast sing with the orchestra for the first time).

At the end of last week we ran the opera, which is a scary thing, as up until this point we have been working in a very detailed way on individual scenes and when you run the opera for the first time, you see how well all that detailed work sticks and where the holes in the piece are. The sooner you do a run the better and although it was scary we still have a week to tighten the piece and get it slick.

My Ensemble Amorpha is producing the opera and although this has meant a lot of responsibility and hard work raising the money and learning by doing, in terms of how do you actually make an opera, how do all the numerous elements come together to create the final product, it has meant I have had a huge amount of control over the process. In conducting the piece I can convey my own musical vision for the work and collaborating with singers and musicians I have chosen as well as working with the librettist and director Peter Cant, I have the most enthusiastic and talented team around me.

I’m sure there will be some bumps in the road yet to come, but I couldn’t be more excited about this weeks rehearsal and then premiering the work on the 28th of January. I hope you can make it!

Purchase: The Girls Who Wished to Marry the Stars from NMC, Here.