"There’s no denying Bowler’s defiant charisma: a cross between Cathy Berberian and Pussy Riot"
"a triple threat composer-performer-provocatrice"
The Arts Desk
"A challenging piece with a lot to say.....if FFF is going to be appreciated properly, it needs to be seen, heard and taken very seriously indeed"
Laura Bowler, described as “a triple threat composer-performer-provocatrice” (The Arts Desk) is a composer, vocalist and Artistic Director specialising in theatre, multi-disciplinary work and opera. She has been commissioned across the globe by ensembles and orchestras including the BBC Symphony Orchestra, ROH2, Opera Holland Park, The Opera Group, Manchester Camerata, London Philharmonic Orchestra, Quatuor Bozzini (Canada), Ensemble Phace (Austria), Ensemble Linea (France) and Omega Ensemble (Australia).
Her recent projects include; a music theatre work, FFF, for ensemble and vocalist commissioned by BBC Radio 3 and Huddersfield Contemporary Music Festival; Feminine Hygiene, a multimedia work for large ensemble and vocalist commissioned by the BBC Philharmonic and Sounds from the Other City Festival; Damned Mob of Scribbling Women- a 20 minute music theatre song cycle for Lucy Goddard which was nominated for a British Composer Award; Houses Slide an off-grid work for London Sinfonietta and Jessica Aszodi powered by bicycles; distance commissioned by sound, Spitalfields and Cheltenham music festivals; and Antarctica, a 50 minute multimedia work for orchestra and vocalist co-commissioned by Manchester Camerata and BBC Radio 3.
Future commissions include The Blue Woman for Royal Opera House Covent Garden and Britten Pears Arts; and a new work for the pianist Zubin Kanga.
As a vocal soloist she has performed and premiered works internationally, including the premiere of Louis Aguirre’s The Way The Dead Love as part of European Capital of Culture Aarhus programme and the world and Canadian premieres of Jennifer Walshe’s boxing opera, Training is the Opposite. She is also the vocalist in contemporary music ensemble, Ensemble Lydenskab based in Aarhus, Denmark, and has recently formed a duo with Red Note Ensemble’s flautist, Ruth Morley.
Laura completed her BMus (Hons) at the RNCM and Sibelius Academy (Finland), followed by her MMus and PhD at the Royal Academy of Music. She also completed an MA in Theatre Directing at RADA. She is currently Lecturer in Composition at Guildhall School of Music and Drama and Royal Northern College of Music.
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Distance (world premiere)
Sound Festival Aberdeen (October 2021)
Nowhere more so than on sound’s opening night, courtesy of the brilliantly imaginative, deeply compelling Distance (*****) composed by Laura Bowler, and featuring soprano Juliet Fraser in Aberdeen and the Talea Ensemble streamed in live via Zoom from New York, neatly covering both the pandemic and the climate emergency (indeed, sound 2021 was an entirely flight-free festival). That the piece worked at all was a breathtaking technical achievement, but it was Distance’s artistic ambitions that really wowed. Merging multiple video feeds, live and recorded sound, and an exquisitely strange sound world conjured through Bowler’s intricate music, it pranced nimbly between experiences of flight, and reflections on the data flow that was making the piece possible at all, with some self-deprecating humour thrown in lest that sound too po-faced. Distance felt like the unveiling of something truly important and inspirational.
David Kettle, The Scotsman *****
Houses Slide (world premiere)
Royal Festival Hall (July 2021)
In a week of flash floods, the world premiere of Houses Slide was all too timely. Who doesn’t currently feel they might be atop a crumbling cliff, metaphorical or otherwise. The composer Laura Bowler and librettist Cordelia Lynn have created a work for soprano and ensemble on eco catastrophe...Directed and conceived by Katie Mitchell and conducted by Sian Edwards, Houses Slide was powered by 16 bicycles: an off-grid world-first that sounds crazy, and nearly was, but couldn’t have been more serious.
Tapping and clicking, blowing or breathing into their instruments, [the London Sinfonietta's] sounds gradually turned to music, at once impressionistic and honed, meticulous, multilayered. A swirl of taped voices (using submissions from the public) catalogued loss and change, in insect and bird life, weather, landscape, remembered since childhood. The phenomenal Australian actor-soprano Jessica Aszodi, cycling throughout, was the pivot.
Fiona Maddocks, The Guardian
Laura Bowler reviews
the connotations of Bowler’s music are rich and multi-layered, but quite apart from that, it is so, so refreshing to hear a composer seeking to tap into something genuinely extreme, a quality that often feels lost from the contemporary concert hall
Laura Bowler’s Salutem provides a forceful representation of multiple epochs of human civilization, affording the ensemble the chance to let loose: even scream with abandon
There’s no denying Bowler’s defiant charisma: a cross between Cathy Berberian and Pussy Riot
a triple threat composer-performer-provocatrice
The Arts Desk
A challenging piece with a lot to say, Bowler wielded just enough humour to reinforce the points she was trying to make, but if FFF is going to be appreciated properly, it needs to be seen, heard and taken very seriously indeed
Edgy and violent
BBC Music Magazine
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