“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: September 9th, 19:45, Royal Opera House Covent Garden. Macbeth


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 represented by IMG Artists. He was the first Glyndebourne Young Composer in Residence  (2011-2014) and is currently composer in residence at the Foundling Museum. Luke has worked with conductors and soloists such as Vladimir Jurowski and David Pyatt and 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.


Macbeth @ Glyndebourne

My chamber opera of Macbeth opened last week at Glyndebourne and marked the culmination of my time with the opera house since 2011 and the realisation of my fifth opera to date. There were four performances and there will be a fifth and final performance of the opera at the Royal Opera House on the 9th of September.

The whole experience of Macbeth has been phenomenal. I felt that the four performances were a thrilling realisation of the work I had imagined by an exceptional cast and the ever brilliant London Philharmonic Orchestra, under the baton of Jeremy Bines.

Collaboration has been core to all of my opera projects and Macbeth has been one of the most successful collaborations, this time with director and librettist Ted Huffman. By combining these two important creative roles into one, Ted and I were able to work as a team from workshop, through production/rehearsals and the result has been a work where I never feel that words, music, staging are working against each other, but always together.

The performance space at Glyndebourne was their Jerwood Studio. It is usually used for rehearsals, but can be transformed into a black box theatre as well, which is what happened for Macbeth. There are some sound issues in this space, which is not designed as a theatre, that would not present themselves in a normal theatre, especially one with an orchestral pit, but we overcame these and a positive consequence of this has been that orchestra and cast feel very much connected as part of the same thing. It is very rare in Macbeth that the orchestra is ever accompanying the voices, it is mostly an equal part of the drama. So in this space the sound was pushed very close to the voices sometimes, where dramatically appropriate, subsuming them. The sound was also physically/visually very close and present as the orchestra formed a wall of people and instruments at the back of the theatre, together with the cast completing a semi-circle around a central performance space.

It was a real thrill to see each of the Glyndebourne performances sold out, and as I understand it the ROH performance is also sold out. I think we will have a very different audience in London than in Glyndebourne and I am really pleased that one of my Glyndebourne commissions can travel to the Capital.

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

Slogan 1 (2009). Violin and Viola. Premiered by Ensemble Amorpha.