On Macbeth (Glyndebourne/ROH)

Elegantly creepy, defiantly cool” - Bachtrack

“the orchestral writing is crisp and incisive, conjuring up with imagination the successive atmospheres required for the tragedy’s trajectory.” The Guardian

Next Concert: July 24th, Bodice and Ribbons, Stradbroke Chamber Music Festival, Australia


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

Luke Styles is a composer prolific in opera, the theatre and instrumental music. Over the last four years Luke’s operas including Macbeth and Tycho’s Dream have been performed at Glyndebourne, the Royal Opera House Covent Garden and the Vault Festival. These operas have explored diverse worlds including cabaret, war and science fiction, and allowed him to delve into sensual lyricism, humour, chaos and darkness in his music.

Luke has created dance works for the New Music Biennial (performed at the 2014 Commonwealth Games) and circus works together with long time collaborator, aerialist Ilona Jantti. These works display Luke’s belief in pushing new music into areas where it is not usually encountered. Handspun, a contemporary circus work, continues to tour throughout Europe.

In 2014 Luke was signed by IMG Artists following his time as the first Glyndebourne Young Composer in Residence (2011-2014). Luke continued his creative partnerships with organisations in 2015 as composer in residence at the Foundling Museum, the first composer to occupy the position since Handel.

Collaborations are central to Luke’s work and this has led to new works with conductors and soloists Vladimir Jurowski and David Pyatt and ensembles such as the London Sinfonietta and the London Philharmonic Orchestra.

Luke is a former student of Wolfgang Rihm, George Benjamin and Detlev Muller-Siemens. Read more HERE.


Composers Fund

I’m thrilled to have been selected as one of nine composers for the inaugural Composers Fund, a PRS for Music Foundation scheme. ‘The fund aims to give composers more control of their work, by offering them direct access to funding at pivotal stages in their careers. The fund comprises of £150,000 annually to support composers and enable them to realise projects and ambitions that may not be possible through traditional commissioning models.’ Check out the full press release here:

I will be using this fund to undertake pre-development work on a Neo-Baroque opera. This will see me travelling to Glasgow to work with the librettist Alan McKendrick on the scenario and first libretto drafts of the new opera and also working closely with David Bates, director of La Nuova Musica on the musical language of the piece. I can’t quite announce the commissioners of the full opera, but I can say that it has major US and UK commissioners and will be produced in the US, UK and on the Contenient.

At this stage the plans for the opera and what a Neo-Baroque opera might be is as follows: The opera will be for a cast of five and most probably in 3 parts (3 episodes). The new opera will take the TV Sitcom (in particular Sienfeld) as the modern day equivalent of Baroque Opera and be an original work set in the present. To situate the opera as Neo-Baroque it will use Handel’s and Cavalli’s Xerxes as models. Xerxes whilst stemming from a pre-Christian period of around 500 BC is laced with the absurd, the tragic and is a ripe model to use for a 21st century original work.

In other news this week will see the premiere of my new dance work Passacaille at Boughton House. I am in Skype rehearsals this week with the french musicians from Les Arts Florissants, counter-tenor James Laing and Paris dance company Les Corps Eloquents and on Saturday I will go up to Boughton House for our first face to face rehearsals before the premiere on Sunday. All very exciting. As well as this piece forming part of a programme of dances and arias from Handel’s operas I also see the work as another experiement with my Neo-Baroque language as preparation for the Neo-Baroque opera. In Passacaille I have incorporated more of a baroque rhythmic language into my original work whilst continuing to experiement with my own approach to figured bass and continuo writing.

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

Interminable Prelude(2006). Cello Trio

Macbeth premiered in 2015 at Glyndebourne and the Royal Opera House Covent Garden.

To get in touch please contact my agent at IMG. Bridget Canniere.