Review: Bushra El-Turk and Eleanor Knight, Silk Moth; Grimeborn, 9 August 2019

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Originally posted in Tempo: a Quarterly Review of New Music:

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When Eleanor Knight began researching her libretto for Silk Moth, she had to decide how to frame an opera about honour violence. Meeting women whose lives it had ruptured through the Iranian and Kurdish Women’s Rights Organisation, she confronted the usual images that accompany the dozen-or-so honour killings per year in the UK media. Between the ‘old, faded school photos’ that illustrate victimhood and the male perpetrators with ‘blankets over their heads … shoved into waiting police cars’, she saw a gulf of painful complexity. ‘What’, she asks, ‘of the mothers?’.1
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Review: Grimeborn Festival stages daring triple bill featuring El-Turk’s Silk Moth

Originally posted at I Care If You Listen:

Shira Agmon, Camille Maalawy, Aivale Cole and Sophie Atalar in Ruthless Jabiru // Silk Moth (Director Heather Fairbairn, Set & Costume Designer Charlotte Henery, Lighting Designer Sean Gleason, Video Designer Sapphire Goss) © Lidia Crisafulli

It’s summer opera festival season in the UK—so, are you a Glyndebourne or a Grimeborn person? Country house in Sussex, or a converted factory in east London? Mostly standard repertoire, or an adventurous programme with plenty of contemporary discoveries? Membership advised if you want to attend, or accessible pricing? Picnic on the lawn in the supper interval, or walk round the corner to the finest Turkish kebab joints in town?
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Review: Ruthless Jabiru, King’s College London / Arditti Quartet, Wigmore Hall review – delicate, dedicated modernism

Originally posted at The Arts Desk :

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Compelling refugee-themed concert from Australian ensemble and radical new sounds from avant-garde veterans

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★★★★✩

Ruthless Jabiru is an all-Australian chamber orchestra based in London. It is the brainchild of conductor Kelly Lovelady, who in recent years has geared the ensemble towards political and environmental concerns. Previous projects have highlighted environmental damage in central Australia and the campaign to end sponsorship by oil companies in the arts sector. For Saturday’s concert, Lovelady and her colleagues turned their attentions to the humanitarian crisis of refugees setting out for Australia by sea.
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