A few words from the director (by Aylin Bozok)

“As the audience we are invited to watch a social experiment in a laboratory on people who have no idea they are in the box and/or are being watched. Only one of the characters actually knows what’s going on and is aware they all are locked in and, although we don’t think they can see us, well, maybe we are seen and maybe we are also part of the experiment.”

Why opera? (by Lee Reynolds)

“Opera is capable of putting across our passions and our stories far more powerfully than any other medium. We are a storytelling animal, and what Pandora’s Box does is tell an urgent, compact and complex story.”

Thoughts on composing Pandora’s Box (by Alex Woolf)

“At the heart of Pandora’s Box is the tangled web of relationships within a group of five friends. This network of trust and deceit, secrets and half-truths, is of course ideal dramatic fodder for any opera. Moreover, it strikes me as positively dripping with musical possibility, and so I’ve been guided at every turn by the relationship of these characters to one another when constructing the score and determining how the music should unfold.”

Don’t open the box (by Dominic Kimberlin)

It is one thing to imagine and quite another thing to know. Even if the truth is painful, it is still the truth. Does it not deserve to be uncovered? By such noble reasoning, we can bring about our own destruction…

When a score comes to life for the first time (by Berrak Dyer)

“We leave the rehearsal room singing lines from the opera, we quote parts of the libretto to each other within other contexts, and this is when we know the work has paid off and that we all have the privilege to be creating something special and for the very first time.”

Thoughts on writing music for a new opera (by Dani Howard)

To me, the main difference between this project and all of my other work was the sheer length. A 90-minute opera is significantly different to the 2-15 minute pieces I have been used to writing. The only way I can describe this difference, would be like that of writing a short story versus a novel.

Breathing new life into a familiar story (by Zoe Palmer and Rebecca Hurst)

How to create something surprising, meaningful, rather than a pastiche of all the other Robin Hoods that have made their way onto stage and screen? How to move beyond the long shadows cast by Errol Flynn, Mel Brooks, and Kevin Costner? How to ensure that our Robin was more than just another man in tights?

Bringing the score of Goldilocks and The Three Little Pigs to life (by Paul Wingfield)

“As a conductor there is much that is impressive about this jaunty and violent score: the imaginative orchestration, the slick pacing and simple, strong architecture immediately spring to mind. It is, however, the intimate and playful relationship that exists between the words and music which is the greatest gift to the creative team…”

On finding inspiration for Goldilocks and The Three Little Pigs (by Pedro Ribeiro)

““What happens to us as we get older that makes us forget how good it is to fly?” I could today reply to that same question… the gravitational force of the digital world is just too strong to let me fly as a kid does with just a fish on his hand (in fact the fish is a balloon but he pretends not to know about it)…”

Show me the money

More money or less art? Antony Feeny examines the economics of opera