Tête à Tête is the future of opera
Tête à Tête:The Opera Festival, King’s Cross
The World’s Largest Festival of New Opera
21 July – 9 August 2015
Tête: à Tête: The Opera Festival returns to King’s Cross this summer, with more than 100 performances of over 40 new works spanning three weeks.
We are committed to redefining and reclaiming ‘opera’. This year we present our 9th Festival – in fact the world’s largest ever – of new opera. Renowned for our support of artistic development, nourishing of new ideas and driving innovation in opera the Festival is designed and priced so you can experience a number of shows in an evening. Explore, engage and enjoy hand in hand with our artists – we very much look forward to welcoming you.
2014 was a tremendous year for Tête à Tête. We:
► Produced 5 opera ourselves, hosted over 35 others and presented over 80 performances involving over 400 artists at Tête à Tête: The Opera Festival
► Co-produced an evening of 5 short operas, Hogarth’s Stages, with the Royal College of Music
► Commissioned and produced GRIND with skateboarders and choirs in Aberdeen, Dumbarton and London as part of the prestigious PRSF New Music Biennial
► Played to live audiences of over 10,000
► Played to online audiences of over 20,000
► Secured continued 3 years Arts Council National Portfolio funding
► Seen Kerry Andrew, the composer of our Tête à Tête commission Dart’s Love, win the British Academy of Songwriters, Composers & Authors 2014 Best Stage Work Award.
We even made it on to the BBC London News, for the right reason, talking all about our relocation of Tête à Tête: The Opera Festival to King’s Cross. The challenge was transferring the Festival intact from Riverside Studios to our new home at the Platform Theatre complex at Central Saint Martins, Kings Place and the surrounding public spaces whilst keeping the focus on supporting our artists and producing exciting new work for our audiences. It worked – the Festival moved, we got fantastic feedback from everyone.
- It’s a good move. The venue offers excellent performance facilities and the foyers were buzzing with the sort of fashionable youth that more mainstream operatic institutions would give their eye-teeth to attract. There was an invigorating sense of ideas being sparked and connections made. Rupert Christiansen, Daily Telegraph, 26th July 2014