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: September 13th, 15:00, Finnish Radio Symphony Orchestra, Helsinki. Handspun


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 @ ROH

On the 9th of September 2015 my chamber opera of Macbeth transfered from Glyndebourne to the Royal Opera House Covent Garden (Linbury Studio) and was greeted by a sold-out audience.

After a week off between the four Glyndebourne performances and the show at the ROH I was a little concerned that perhaps the piece would sag and not be as fresh as it had been at Glyndebourne, where the performances followed directly on from an intensive rehearsal period. I had no need for concern what so ever. The cast and orchestra were fresh after a weeks break and the new performance space seemed to give the team a new injection of energy. This converted into a very strong performance of the piece (possibly the best of the 5), of which I couldn’t have been prouder or happier.

The final performance of Macbeth marked the end of a very intensive 4 years of opera creation, in which I have composed 5 operas (4 of which have been for Glyndebourne), to recover I just went on holiday for 5 days to lie on a beach in Spain.

If you would like to take a look at some of the production shots of Macbeth by Robert Workman, follow this link.

The next opera projects are now underway and I should be able to post some updates on the opera front soon. For now it is on to the Foundling Museum Anthem, a new orchestral piece and a piano trio.

Below are some of the kind words said in the press about Macbeth, you can read more here.

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

The Guardian - George Hall

"elegantly creepy, defiantly cool"

"so often, Shakespeare’s words can rush away rapidly from us on stage, but here, both projected and sung with deliberate clarity, every word shines and works its magic."

"Styles’ music swirls, hums, and draws us inexorably into the dark heart of power."

Bachtrack - Charlotte Valori

"The music is scored for chamber orchestra, with evocative use of percussion and piano, and although it is pared down to the most emotionally sparse lines it still has moments of surprising lyric grace"

music OMH - Melanie Eskenazi

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

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