Page 62 - FINAL_Theatre of Sound Coverage Book

OW: What are the biggest challenges of Bartok’s music?

GF: The music is difficult only in that there is occasionally no audible beat, so you
need to count in your head. It is a rich soundscape, and it is easy to get carried
away. That is remedied completely by performing in a chamber version!

SB: I find his constant changes of rhythm and time signatures a challenge. His
harmonies are complex and intense and that means that occasionally plucking the
pitches out of these colors is tricky! It is a bit like doing maths at first as far as the
rhythm goes, but in time it becomes more natural.

OW: Theatre of Sound is also collaborating with Live

Music Now and London Sinfonietta in a complementary

creative participation program called “Judith’s Castle.”

What does it mean to you both to be involved with a
company that is doing work like this?

GF: It means so much to be involved in actively connecting with groups that need
support and
exposure. It’s a privilege to be part of raising awareness and supporting outreach.

SB: It is wonderful that we are able to collaborate with these organizations and that
we will highlight their work and they will highlight ours, and hopefully in that way we
will bring the subject of dementia and the challenges it presents to as wide an
audience as possible.

OW: The opera world has changed since the pandemic.

What do you think this company can do to differentiate

itself but also bring a new audience?

GF: It has already broken the bond of a large performance space. Now it can
proceed to make great opera relevant to those who might least expect its power to
heal and touch the soul.

SB: We will be performing in a very up close and personal way which is of course a
complete contrast to being in a big theatre. The audience will feel very near to us
and will hopefully get a much more direct experience. The space we are using is
again unconventional. I think that post-pandemic, we all need to reassess what we