Posts Tagged ‘New York’
« Back to E-News

Scriabin, who died 100 years ago this year, was the first composer to associate colours with music; he believed that there is an aesthetic connection between musical harmony and shades of colour. The Russian artist Wassily Kandinsky was inspired by Scriabin, amoung others including Wagner. Kandinsky wanted to create what Scriabin had for music, but for colours and feelings. Kandinsky, had his own colour theory to match colours with musical tones or instruments.

Composition VII by Wassily Kandinsky (1913)

Composition VII by Wassily Kandinsky (1913)

There is a possibility that Scriabin had Synaesthesia, a condition where a sensation in one of the senses, such as hearing, triggers a sensation in another, such as sight. In Scriabin, music triggered a vision of certain colours in a ‘union of his senses’. Each note corresponded to a specific colour: C-red, G-orange, D-yellow, A-green, E-sky blue, B-blue, F#-bright blue, C#-violet, G#-lilac, D#-flesh, A#-rose, F-deep red. However, some composers such as Nikolai Rimsky-Korsakov, disagreed with Scriabin about which keys related to which colours. It is believed that Messiaen and Liszt were also synaesthete, although the condition isn’t common even in people with perfect pitch. 

A piano illustrating which colour corresponds to which key

A piano illustrating which colour (according to Scriabin) corresponds to which key

Scriabin was also deeply philosophical and mystical; he had visions of other worlds and he wished to transport his audiences to other realms through his music. He had planned a great piece, the Mysterium, which would be performed in a half temple in India. The spectacle would include a light show engulfing performers and audience members, who would sit across a pool of water. Incense and acrid smoke would be blown across the scene, costumed speakers reciting texts would parade with the dancers and Scriabin would sit at the piano surrounded by the orchestra. Scriabin died before the composition was complete, this dream was never realised.  He once boasted that only his music could express the inexpressible.

A few years before his death, Scriabin produced a colour keyboard with colour lamps, known as  a clavier à lumières. In the score for Prometheus: The Poem of Fire (1910), Scriabin described how his clavier à lumières should accompany the orchestra. The colour organ was to be played like a piano but instead of emitting sound, it projected coloured light onto a screen. The only performance using the color organ as Scriabin had envisioned, was in New York in 1915. This was the year that Scriabin died, of an untreated infection under his famed moustache. It seems that Scriabin had vast sources of inspiration and had he lived longer perhaps more of his dramatic, other- worldly dreams would have been realised. 

Scriabin performing in St. Petersburg in April 1915 (his last recital)

Scriabin performing in St. Petersburg in April 1915 (his last recital)

(Written on November 17, 2015 )

Classical News

In today’s news, the results of Sound and Music’s Composer Commissioning Survey are revealed, Royal Scottish National Orchestra relocates to Glasgow’s Royal Concert Hall, ‘La Marseillaise’ is played around the World and Sebastian Schwartz is appointed general director at Glyndebourne. Also, the winners of the Paul Hamlyn Foundation Awards are announced

Classical Music Magazine

Sound and Music survey highlights problems faced by composers

The results of Sound and Music’s Composer Commissioning Survey 2015 have been revealed. The survey was first conducted in 2014 in response to increasingly frequent remarks over the worsening environment for the creation of new music

The National

Royal Scottish National Orchestra moves to bespoke new home in Glasgow city centre

Scotland’s national orchestra has relocated to a new home in Glasgow city centre. The construction of a purpose-built rehearsal and recording facility for the Royal Scottish National Orchestra (RSNO) and a new 600-seat music auditorium was completed last month

The New York Times

After Paris Attacks, ‘La Marseillaise’ Echoes Around the World in Solidarity

It rang out at the Metropolitan Opera, with Plácido Domingo conducting, and before performances by the Philadelphia Orchestra, the Lyric Opera of Chicago, the Detroit Symphony Orchestra and others. Muslim leaders sang it in Paris at the scene of one of Friday’s deadly terror attacks

Classical Music Magazine

Paul Hamlyn Foundation award winners announced

Composers Brian Irvine, Adem Ilhan and Peter Wareham have been named winners of the Paul Hamlyn Foundation Awards for Artists 2015. Each winner receives £50,000 over three years, with no obligations or conditions as to how the money is used

Classical Music Magazine

Glyndebourne appoints Sebastian Schwartz as general director

Glyndebourne has appointed Sebastian F. Schwartz as general director. He will take up the new role in May 2016, becoming the opera company’s seventh general director


Liz Mohn Kultur- und Musikstiftung fördert 15 Musikprojekte

In den Projekten erhalten junge Menschen aus unterschiedlichen Kulturen die Chance, an kultureller Bildung teilzuhaben und das Miteinander und Verständnis füreinander zu lernen

Medal of Freedom für Geiger Itzhak Perlman

Der Violinist und Dirigent Itzhak Perlman erhält die Presidential Medal of Freedom, die als höchste zivile Auszeichnung der USA gilt

Codex Flores

Kammerorchester Basel reist nach Australien

Das Kammerorchester Basel gastiert zum ersten Mal in seiner Geschichte in Australien. Eingeladen hat das Australian Chamber Orchestra. Als Solistin reist die Cellistin Sol Gabetta mit

El Pais

“Mi música es una mezcla de lógica y sentimiento”

El compositor Ludovico Einaudi, autor de la música del nuevo anuncio de la Lotería de Navidad, presenta su disco ‘Elements’


Antón Larrauri tiene ya su página web

El 21 de deciembre de este año se celebra el 15 aniversario del fallecimiento del compositor Antón Larrauri. Para tal ocasión un círculo de amigos del compositor ha colgado una biografía suya en Wikipedia junto a la creación de un blog llamado Circulolarrauri en el cual van introduciendo artículos referidos a su figura y obra


Arts Council: England ‏@ace_national  Celebrate LGBT arts and culture in Birmingham @shoutfestival #ShoutFestival15

WhatsOnStage Opera: @WOSOpera  Sebastian F. Schwarz, deputy AD of Theater an der Wien in Vienna, appointed general director of @glyndebourne  w.e.f. May 2016

Glasgow Philharmonia:@GlasgowPhil Nearly at 1000 followers! Who will be 1000?? Please follow us for exciting news coming up! #followers #follow #twitter #MUSIC #orchestra RT?

L-R: Brian Irvine, Karen Mirza and Brad Butler, Emma Hart, Peter Wareham, Adem Ilhan, Tina Keane and Will Holder. Photo: Emile Holba, Classical Music Magazine

Paul Hamlyn Foundation award winners, L-R: Brian Irvine, Karen Mirza and Brad Butler, Emma Hart, Peter Wareham, Adem Ilhan, Tina Keane and Will Holder.
Photo: Emile Holba, Classical Music Magazine


(Written on November 17, 2015 )

In early Italian Opera, from the 1600’s until about 1800, many operatic roles were written for castrati. Recently more men have been trained as countertenors to sing these roles, however it is often women who take on these ‘breeches roles’ in the place of castrati.

From the end of the eighteenth century, when composition for castrati had declined, male operatic roles continued to be written for high voices. Thus, it was intended that a woman should dress up as a man to play these characters. It is important to note, that the quality of the voices and music has always come before realism in opera.

Italian castrato Francesco Bernardi Senasino (1686- 1758) Senesino was closely associated with Handel & sung 17 of his lead roles an

Italian castrato Francesco Bernardi Senesino (1686- 1758). Senesino was closely associated with Handel and sung 17 of his lead roles.

Travesti in Italian means disguised and Travesty applies to roles sung by the opposite sex. This term can therefore also apply to ‘skirt roles’, whereby a man sings a female role.

A long list of lead figures in operas are known as ‘breeches roles’ (‘travesti’ or ‘hosenrolle’) .

Here are some of the most well known Travesty roles in opera.

Octavian Der Rosenkavalier, Richard Strauss

Octavian, young lover of the Feldmarschallin Marie Thérèse, is written as a soprano/mezzo-soprano breeches part. Typical of a breeches role, Octavian must disguise as a woman to hide his identity and involvement with Marie Thérèse.

Christa Ludwig as Octavian

Christa Ludwig as Octavian

Romeo I Capuleti e i Montecchi, Donizetti

When assessing the singers for I Capuleti e i Montecchi, Bellini wasn’t particularly impressed with the tenor. However he admired the talents of mezzo-soprano Giuditta Grisi, so he decided to cast Grisi as Romeo in a breeches role.                                                                   

Anna Netrebko and Elina Garanca as Romeo & Julliet, ROH 2009

Anna Netrebko and Elina Garanca as Romeo & Julliet, ROH 2009

Cherubino, Le Nozze di Figaro, Mozart

Cherubino is an adolescent boy and the counts page. As many breeches roles, Cherubino is played by a mezzo-soprano. Similarly to Der Rosenkavalier’s Octavian, Cherubino must disguise himself as a girl. He is a womaniser and woos both Susanna (engaged to Figaro) and Countess Almaviva (married to Count Almaviva).

Other breeches roles in Mozart’s operas, include Sesto and Annino in La clemenza di Tito,  Idamante in Idomeneo and Amintas in Il re pastore.

Joyce DiDonato as Cherubino at the Metropolitan Opera, New York

Joyce DiDonato as Cherubino at the Metropolitan Opera, New York

Composers chose for male characters to be played by women, due to the sound characteristics of their voices and their physique. Female figures are particularly suited to being cast as young boys, as these roles require narrow physiques and light, clear voices. Although today, it is of course perfectly acceptable for women to perform on stage, in the nineteenth century, woman who went on stage were dishonored and had a lower status. Thus, there were cases of women dressing up, pretending to be a castrati men in order to avoid this. Today’s interest and media focus on gender fluidity suggests that there is great scope for opera to flourish, as modern audiences continue to be fascinated by gender roles.

(Written on November 12, 2015 )

Are you a creative, dynamic and enthusiastic arts-lover? WildKat PR are looking for an Account Manager to join their London team


WildKat PR is a game-changer in the classical music industry, and constantly seeks to challenge the status quo, embrace creative values and be on the cutting-edge of digital and online developments. With offices in London, Berlin and New York, we have a diverse international outlook and offer bespoke campaigns that are tailored to individual artists’ needs. Our clients include Mahler Chamber Orchestra, Tête à Tête Opera Festival, Matthew Sharp and Dartington International Summer School.

Our London office is looking for an experienced Account Manager to work on imaginative PR campaigns across the classical music and cultural industries, alongside the Director, Office Manager and Junior and Senior Account Managers. They will be expected to quickly establish and build strong working relationships with press, in order to generate a variety of media coverage for our clients.

Our small, open plan office has a sociable atmosphere, in which our supportive team always welcomes fresh ideas. We provide personalised creative skills training and coaching, and offer the chance to expand your skill-set through diverse opportunities and collaboration with mainstream brands and projects. On top of gaining wider industry experience – not just PR – there are also opportunities for travel and to attend concerts and events. As if you needed more incentive – we also have an annual ski trip to Austria, weekly yoga in the office, frequent team lunches and afternoon drinks.


Key duties

As an account manager your role will be:

  • To manage your set of clients and work with them to help achieve their PR goals. This includes: gaining press, attracting new audiences, helping to improve their brand, organising events
  • To think creatively about how you (and your colleagues) approach campaigns. You will be asked to continually make new connections and think differently in your work. You will be expected to challenge how we, and the industry, are doing things
  • To use social media as a way of generating exposure for clients. This includes: analyzing existing channels, advising on strategy, setting up and managing accounts, creating content, scheduling posts, engaging with online community
  • To integrate digital media into campaigns. This means exploring new technology and developing ways to include it client campaigns. This includes: using video technology, new apps and software, latest gadgets (such as Google Glass, Apple Watch etc.)
  • To take a leading role in the development and execution of unique, creative campaigns to promote your clients and the company
  • To write copy in relation to your client needs, including: fact sheets, bios, blogposts, newsletters, brochures
  • To liaise with journalists to generate and secure media coverage for clients
  • To organize client events, as needed. This includes: concerts, VIP receptions, industry networking events
  • To attend all relevant artists’ events (which regularly occur outside of office hours) including meetings and performances
  • To network with Industry to build your reputation and that of the company.
  • To oversee the work of junior Account Managers and Interns when required, and be willing to grow into a senior management role
  • Person Specification


  • 1-2 years’ relevant experience in either PR or the classical music industry
  • Ability to remain calm when working under pressure and to manage conflicting deadlines
  • Knowledge of classical music, the arts, culture and PR
  • Proven administrative and organisational skills
  • Excellent verbal and written communication skills
  • Ability to take initiative and responsibility when working alone
  • Confidence and ability to manage multiple projects simultaneously
  • Ability to work as part of a team
  • High degree of accuracy and attention to detail
  • A strong interest in online media
  • Self-motivated
  • Good standard of computer literacy (Word, Excel, WordPress)
  • Desirable

  • Marketing experience
  •  Fluency in another language, preferably German or French
  • Educated to degree level in an arts subject
  • wildkat-party-food-cakes

    To apply, please send your CV and covering letter to with the subject title ‘WildKat PR Account Manager application’ by 5pm on Friday 27th November 2015

    Interviews will take place 2nd/3rd December 2015

    Salary: Competitive – dependent upon experience

    (Written on November 4, 2015 )

    Classical News

    In today’s news, Gramophone announces that Warner Classics has signed two new artists, BBC Music Magazine reports that the British Library has acquired the Gilbert and Sullivan archive & The Observer discusses how in New York, classical music is being pushed further away from the spot light

    The Observer

    Has the Best Classical Music Gone Underground? 

    New York, New York, that “hell-of-a-town,” that cerebral cortex of America, is constantly changing, and in the realm of classical music, the change has been dramatic


    Warner Classics signs two new artists

    Warner Classics has just announced the signing of two artists from North America: the piano duo Christina and Michelle Naughton and the violinist Benjamin Beilman

    BBC Music Magazine

    British Library acquires Gilbert and Sullivan archive

    107-year-old Gilbert and Sullivan archive heads to London 

    Der Tagesspiegel 

    Ungebrochene Neugier, unbeirrbare Konzentration

    Menahem Pressler, 91-jähriger Gründer des Beaux Arts Trio, spielt zum Abschlusskonzert seiner Europa-Tournee Mozart in Berlin


    Dresden zeigt Gesicht(er)

    Endlich überwindet Dresdens Semperoper den Denkmalschutz und mischt sich ins Tagesgeschehen ein. Sinkende Besucherzahlen von auswärts dürften nicht dr einzige Grund dafür sein


    Pizzicato reported last week that Music Director James Judd offered to cut his fee in order to save the Israel Symphony Orchestra Rishon LeZion (ISO) from financial difficulties. Now, it looks like this and other measures are believed to be successful


    Radio Clásica presenta la programación de sus 50 años

    Medio siglo difundiendo la música clásica a través de las ondas. 438.000 horas de cultura en la radio, que se celebra en Radio Clásica presentando varios espacios 


    Jazzwise ‏@Jazzwise Theatralia Jazz Festival heads to Pizza Express … @pizzajazzclub

    Record Label A&R ‏@recordlabel_ar  Licensing company looking to pitch Christmas songs to their advertising clients 

    Help Musicians UK ‏@HelpMusiciansUK  Christmas Tree is card of the week, there’s 3 packs to win, simply RT! Winners at 5pm! #competition #charitytuesday

    Violinist Benjamin Beilman Photo: Giorgia Bertazzi, Gramophone Magazine

    Violinist Benjamin Beilman
    Photo: Giorgia Bertazzi, Gramophone



    (Written on October 27, 2015 )

    Classical News

    In today’s news, ROH has won two Lovie Awards and The New York Times reports that tenor Placido Domingo has had to withdraw from several performances of Puccini’s “Tosca” at the Met. Also, composer, performer and Gramophone critic Duncan Druce has died

    Classical Music Magazine

    ROH wins at the Lovie Awards

    The Royal Opera House has won two Lovie AwardsThe Opera Machine and the live stream of Monteverdi’s Orfeo (presented in association with the Roundhouse/BBC Arts) both won prizes

    The Strad

    University of Michigan to launch chamber music competition with $100,000 first prize

    Sphinx Organisation founder Aaron Dworkin (pictured) is launching a new chamber music competition with a $100,000 grand prize

    The New York Times

    Domingo to Miss Several Met Performances

    Plácido Domingo, the globe-trotting tenor-turned-baritone and conductor, has been hospitalized with an inflamed gallbladder that doctors plan to remove next week, forcing him to withdraw from several performances of Puccini’s “Tosca” that he was scheduled to conduct this month at the Metropolitan Opera, the company announced Wednesday


    Duncan Druce, composer, performer and Gramophone critic, has died

    Duncan Druce, who has written for Gramophone since 1997, has died at the age of 78

    Arts Council England

    Arts Council England launches Cultural Education Challenge

    Arts Council England today urged all those working in the arts and education industries to work together in offering a consistent cultural education for all children and young people


    Jeder Musikhochschule ihr Landeszentrum – aber in fünf Jahren werden die Karten in Baden-Württemberg wohl wieder neu gemischt

    Es war ein wenig überraschendes Ergebnis, das Wissenschaftsministerin Theresia Bauer in Stuttgart verkündete: An jeder der fünf baden-württembergischen Musikhochschulen wird es künftig ein so genanntes „Landeszentrum“ geben


    “Please help!” Says The Montreal Chamber Orchestra

    The Montreal Chamber Orchestra has twittered an outcry to save the orchestra which is in a deep financial crisis that may threaten its future. Most of the orchestra’s funding comes from private donations

    El Pais

    La fotografía retrata el arrebato del jazz

    Jazz jazz jazz es la crónica visual de la edad de oro del género musical que es, también, la del arte fotográfico

    San Francisco Classical Voice

    Free Fun for the Kids at Crowden Community Music Day Free Fun for the Kids at Crowden Community Music Day

    This is one of the great annual events in the East Bay. Held every fall, the Crowden School in Berkeley opens its doors to children of all ages, but particularly younger children. This year, music day will be held this Sunday, October 18


     Arts Award: @ArtsAward Taking part in this year’s @FamilyArtFest? Check out @ArtsAward‘s new resource for families

    The Journal of Music@journalofmusic Sebastian Adams Appointed 2016 RTÉ Lyric FM Composer in Residence.  @RTElyricfm @KirkosEnsemble

    Norman Lebrecht@NLebrecht German singer shares home with 6 Syrian refugees  via @sharethis

    Opera Machine, ROH Classical Music Magazine

    Opera Machine, ROH
    Classical Music Magazine

    (Written on October 15, 2015 )

    Here at WildKat PR we are delighted to introduce our latest client, Isobel Waller-Bridge.

    As an upcoming British composer for film, television and theatre, Isobel’s career has been widespread, with productions in the West End and New York, as well as the Royal National Theatre, Trafalgar Studios, and many other acclaimed venues. The success of Isobel’s diverse repertoire has been widely acknowledged; The Scotsman praised Isobel’s ‘Eikhah’, writing that it revealed a ‘mature, distinctive voice’ and demonstrated ‘an ability beyond her years’. Isobel has already received high praise from critics across the globe and has been awarded a multitude of awards, most notably Winner of Best Composer, Underwire Film Festival 2014 and Winner of Best Sound Designer, Off West End Theatre Awards 2015.

    Is Blog 2

    Isobel’s recent achievements include her scoring of The Royal Shakespeare Company’s Hecuba, in which she captured the story’s violence, womanhood and bravery. Performance are on now until 17 October. You can read an interview with Isobel about the work here. Other highlights include the Iskra Quartet’s performance of Isobel’s music at Union Chapel on 24 October 2015.

    Amongst Isobel’s exciting upcoming events, The World Machine – part of this year’s Lumiere Festival – is a must see. Isobel will team up with world-renowned cosmologist Professor Carlos Frenk and sound designer John del’Nero for a unique performance at Durham’s beautiful Cathedral.

    Make sure you check out Isobel’s Facebook and Twitter to keep up to date with her latest news.

    Is Blog 1

    (Written on September 29, 2015 )

    Classical News

    In today’s news, Sokolov refuses award won by Lebrecht, and Juilliard opens a campus in China. Also, Classical Music Magazine writes that women in classical music are thrust into the spotlight for all the wrong reasons, and Classic FM lists the struggles of being a classical-music loving Millennial


    Grigory Sokolov refuses award because it has previously been won by Norman Lebrecht

    Sokolov: ‘According to my ideas about elementary decency, it is shame to be in the same award-winners list with Lebrecht’

    Classical Music Magazine

    Women in classical music are being thrust into the spotlight for all the wrong reasons

    When 17-year-old Jessy McCabe made headlines last month with her shocking discovery that Edexcel’s Music A-Level syllabus featured not a single work by a female composer, my reaction was one of anger and frustration

    The Guardian

    Meet the Turner prize shortlist, from the musician to the mind-reader

    Architecture, opera, fashion, parapsychology … this year’s contenders are taking contemporary art into exciting new territory. We sent our experts to meet the artists on the shortlist

    Classical Music Magazine

    Juilliard to open campus in China

    The Juilliard School is to open its first campus outside New York.

    The Guardian

    Turning opera inside out: how I got Lost in Thought

    Shoeless and armed only with a swizzle stick, Stuart Jeffries attempts to banish distracting thoughts and be part of the world’s first mindfulness opera

    Classic FM

    The worst things about being a classical music-loving Millennial

    You were born in the 1990s, you love classical music, and it’s a nightmare. Here are 11 of the worst day-to-day trials that you have to put up with…

    h-Moll-Messe von Johann Sebastian Bach für Weltkodumentenerbe nominiert

    Die deutsche Unesco-Kommission sieht das Werk als Meilenstein der Musikgeschichte in Bezug auf Satztechnik, Wort-Ton-Verhältnis sowie ihre ästhetisch und theologisch durchdachte Gesamtform.


    Im Strudel – Igor Levit und das DSO

    Der Pianist Igor Levit gibt sein Debüt in der Philharmonie. Zusammen mit dem DSO unter der Leitung von Oslo Vänskä lässt er den Saal vor Spannung vibrieren.

    Klassik heute

    “Musik in den Häusern der Stadt” in Köln, Hamburg und Bonn

    Weltmusik im Wohnzimmer, Klassik im Atelier, Jazz im Foyer – vom 3. bis 8. November ist wieder “Musik in den Häusern der Stadt” zu hören.

    El país

    Les Arts y el IVAM llevarán ópera al museo y exposiciones al coliseo

    La muestra ‘Testigos del arte’ ya se puede ver en el Palau de les Arts y desde octubre intérpretes del Centre Plácido Domingo a cantarán en el muse0

    El mundo

    Plácido Domingo canta y llora a su hermana recién fallecida

    María José Domingo, de 72 años, murió este verano en Boston. El tenor la ha homenajeado con un recital en la catedral de Los Ángeles.


    Sinfini Music‘they were taking the piano apart and reassembling it as I played’ on SLEEP

    Music Education UKBBC Music launches Ten Pieces Secondary film

    In Tune BBC Radio 3 A packed studio today! Players from & teaming up to perform an amazing mash up of the

    News 29th Sep

    ‘Music is doing what it always does – dividing up time, but this time in order to structure our work’ Lost in Thought: a mindfulness opera, by Rolf Hind, at LSO St Luke’s. Photograph: Simon Jay Price/The Guardian

    (Written on September 29, 2015 )

    Summer is always a busy time of year in the music world. With the Proms in full flow and festivals popping up everywhere, the past few weeks have been pretty busy for all of us here at WildKat PR too! We wanted to share with you select highlights of what we’ve been up to in our London and Berlin offices…


    One of the most exciting events we have been working on this summer is the Tête-à-Tête Opera Festival. With over 100 performances, from Tim Benjamin‘s dark double-bill Life Stories to a flashmob in King’s Cross, it’s no wonder the festival was listed as number one on BBC Music Magazine’s Unmissable Events for August 2015.

    Tete-a-Tete blog

    Tête-à-Tête pop-up opera

    Next came Grimeborn and Constella Ballet & Orchestra‘s Clown of Clowns – a circus-themed operatic and balletic spectacular featuring Schoenberg’s Pierrot Lunaire followed by Leo Geyer‘s jazz-inspired Sideshows. Despite the tube strikes, we battled our way across London to the Arcola and are very glad we did, as this show received glowing reviews from audience members and journalists alike.

    Clown of Clowns blog

    Clown of Clowns, Arcola Theatre

    We were lucky to have two clients performing at this year’s Wilderness Festival, Matthew Sharp and Avi Avital. Matthew’s performance with Opera North was exhilarating, featuring devils and fire dancers and Avi left the audience calling for an encore!


    Wilderness Festival, Cornbury Park


    The Mahler Chamber Orchestra has had a busy season at the BBC Proms this year. We were stunned to see the connection between the musicians and the wonderful Leif Ove Andsnes directing from the piano. It was also a very emotional evening since this was the last time they were performing the Beethoven journey together.

    MCO blog

    Mahler Chamber Orchestra at BBC Proms. Credit: Paco Varoch

    And the promming fun didn’t stop in London… We travelled down to the Bristol Proms to see the Sacconi Quartet in Heartfelt – an extraordinary production which allowed audience members to hold a robotic heart or ‘chestahedron’ and monitor the musicians’ heart rates as they performed.

    Heartfelt blog

    Sacconi Quartet ‘Heartfelt’ concert

    We have also been making the most of £5 promming tickets and particularly enjoyed Prom 35, The Story of Swing – described by Rhian as one of the best concerts she’s ever been to!

    Office News

    And life inside the office has been almost as busy as our concert schedule!

    With both the London and Berlin offices recruiting, it has been a month of advertising vacancies, reading CVs and interviewing. Now that the whole process is over, we are pleased to welcome new account manager Anja in Berlin and look forward to Victoria joining us next month.

    We have been darting around, accompanying clients to In Tune, Resonance FM and London Live broadcasts, our new in-house photographer has been taking photos at events and we’ve run industry open sessions at Handel House and Guildhall.

    Open sessions blog

    WildKat PR Industry Open Session at Handel House

    We’ve also been travelling further afield, with Carolin in New York with the Mahler Chamber Orchestra, Sarah in Amsterdam with enoa and Olivia and Carolin off to Switzerland for the Gstaad Menuhin Festival.


    New York. Credit: Carolin Denz

    It has been a summer of new beginnings, with new and returning clients David Pearl, Constella Ballet & Orchestra, Marina Baranova, Yijia Zhang, Nina Brazier, Katherine Bryan, JSL, Rachael Young, Ensemble Perpetuo, Damian Marhulets, Raymond Yiu, Anneleen Lenaerts and Hideko Udagawa.

    We also celebrated the birth of two beautiful babies – Anna’s little girl Greta and Kat and Alan’s baby boy Charlie!

    We have a lot of exciting events coming up in the next few weeks, so as always keep an eye on our blog and Twitter for updates!

    All photos in this post (excluding credited images) were taken by in-house photographer Rhian Hughes.

    (Written on August 20, 2015 )

    If you saw ‘Your Call…’ Part 1 in last year’s Tête à Tête: The Opera Festival you’re in for many surprises this year when you see the complete work. Clocking in at about 55 minutes, ‘Your Call…’ has undergone major transformations.

    The biggest and most obvious change is the addition of a second Mezzo Soprano. American mezzo Hai-Ting Chinn joins the cast as a second iteration of ‘The Woman.’ Splitting one character between two performers is a reflection on the unreliability of online identity and the ways we can shape our online image, enhancing or subverting reality.

    DSCF9417You’ll hear a lot of new music in the complete ‘Your Call…’ Having the second voice much more than doubles the musical possibilities. The second voice enriches and deepens the musical texture in a very dramatic way. Both in speaking and singing they share lines, even splitting individual sentences between them as well as singing together.

    The character of ‘The Woman’ has a relationship to technology that is very intense. Her reliance on technology and fear of human-social interactions overwhelm her existence. And we get the sense that she wouldn’t have it any other way. Over and over again she answers a phone, listens and replies, “Oh no, no, no. You’re confusing this one with the other one.” This becomes a real issue for The Woman. Her only interaction with another human always seems to go wrong. She repeatedly retreats to the safety of her phone, even singing, “A friend you can mute is a friend forever.”

    Fundamental elements of communication are getting a deeper look as well. The set and props are made of circles, squares and triangles – fundamental elements of visual communication. Made of Boxes, along with many many megaphones, you’ll see circles (end of a megaphone), squares (boxes), and triangles (megaphones on end). The vowels, a, e, i, o, u, fundamental elements of aural communication, are both spoken and sung as well as being presented in sign language and semaphore signals. And then there are the phones, old and new, big and small, everywhere


    S-O-S, the universal signal of distress is a recurring refrain, woven throughout ‘Your Call…’ in Morse code, semaphore signals, sign language and within the score itself. Is this an unconscious cry for help? On the surface she doesn’t appear to want any help. Is this a manifestation of concern from the synthetic voices who see how her over-reliance on technology has taken over her external life? Only The Woman knows for sure.

    There is a darkness in ‘Your Call…’ that is juxtaposed with broad physical comedy. We hope that you’ll find it as funny as it is disturbing. The character of The Woman makes everyday gestures into a language of their own. She is clearly unaware that she is expressing herself with her body. She doesn’t need to since her only meaningful relationships are online.


    The difference between the internal and external is accentuated throughout the new version of ‘Your Call…’ Spoken text is external, an increasingly desperate attempt to understand and be understood. Sung text is internal, fragmented, jumping randomly from thought to thought. The theatrical ‘fourth wall’ is repeatedly shattered in the performance, always with spoken text. What’s said needs to be heard. What’s sung is bouncing around inside her head.

    Overall the new ‘Your Call…’ is bigger, funnier, darker, and more thought provoking. It’s a wild ride across a theatrical landscape that starts inside ‘The Woman’s’ head, weaves its way through the internet and lands on the floor of King’s Place, Hall 2.

    Oh, and we’ll ask you to please mute your phones (we’ll be friends forever) but please do Tweet with the hashtag #ycopera during the show. We’ll be doing that from the stage and we want you all to be in on the fun. Hope to see you there, 8 – 9 August!

    Lisa J. Coates & Kevin Jones


    (Written on July 29, 2015 )