Are you a composer or librettist? 

T-Art acts as a producer of new musical works for the stage. We currently rely on public funding and private sponsorships solely to produce our shows but are always on the lookout for new ideas and new projects to embark on. 
If you would like to send us a work for consideration for production investment, please email us: 
a synopsis 
a link to online audio samples of your music (no attachments, please) 
an extract from the score in PDF format 
a document, no longer than 2 A4 pages, with any further details you wish to give us 
We will review your submission and aim to get back to you within three to four weeks. The specifics of the project (if accepted) will determine the level of our investment, i.e. whether to be your sole producers or to help you find other co-producers. 



With a brand-new re-composition of the original score by Luca Tieppo and a compelling new drama and libretto, Così Fan Tutte – The Remake (or Così Fan Tutti) will make audiences see the archetypes of Mozart’s opera in a new light. In a faithful attempt to combine the original material with modernity, this production will position itself at the heart of the current debate on readaptations of mainstream opera. The video is from R&D workshops in Birmingham (UK) with a draft English libretto by Becca Marriott and Iskandar Sharazuddin. We are now taking this project to Italy and launched a competition for writers for a new libretto in Italian. 

Luca Tieppo, composer, says: 

“Modern adaptations of well-known operas usually intervene on the staging only (and sometimes on the libretto) but leave the original music score untouched. I’ve always thought this creates a sense of alienation between the dramatic performance and the musical landscape, which remains frozen in a specific time regardless of how the libretto is adapted. I would like to try a different way, that of the Remake – to create a fresh, coherent production where not only staging and libretto are intimately connected, but also the music is moulded by using different stylistic and vocal approaches that combine the source material with contemporaneity” 
The story and the libretto are being re-written to make the opera relevant to a modern audience and the original score is also being re-composed with jazz and pop influences and harmonies. The Remake invites the conversation about human relationships and sexual identities; it neither glorifies or vilifies one or another party but instead focuses on the concept of consent and communication within love. Without spoiling the finale, in this production the girls will make a play with the boys swapping roles (and music!) with them. 
In today's world, what place is there for an opera in which two young sisters are tricked into sexual encounters with each other’s fiancées, and are subsequently shamed for having been duped? What place is there for an opera in which the man who orchestrates this uncomfortable plot ends the tale victorious, while all the women are left dumbfounded? How can we rehabilitate Così fan tutte? How can such an opera survive in the 21st Century? 
We will be exploring ideas of love, sexual liberation, fidelity and feminism as perceived by young people from different cultural backgrounds.  
The key to this story, to us, seems to be Despina (Regina). A strong woman, who rules the roost, but whom Da Ponte and Mozart make a puppet in Alfonso’s game. We wanted to flip the ending and see Despina on top, broadcasting her message of female independence, and to undermine the puppet master, Alfonso, and leave him humbled by his journey. 


Our mission is to show audiences works with a strong sense of theatricality, that speak to their contemporaries and sit outside our preconceived definitions: to be accessible, a work needs to break boundaries. 
Our mission is to show audiences works with a strong sense of theatricality, that speak to their contemporaries and sit outside our preconceived definitions: to be accessible, a work needs to break boundaries. 
In partnership with Hinckley & Bosworth Borough Council, during the first weekend of July 2016 we staged OFF, the first festival of its kind, a fringe event exclusively dedicated to opera, a platform where composers, librettists, directors and creative artists were able to showcase the best that the genre has to offer. 
As part of the programme, Secret Opera presented their all male version of Bizet’s Carmen; Everyday Arias showcased a series of Film Shorts inspired by the world of Opera; and T-Art introduced Lady Shakespeare, a new opera on the life of the Bard with music by Luca Tieppo and libretto by Becca Marriott. 


Uphill was originally composed as a collection of concert pieces for piano solo with the title Preludes sur la Danse by Luca Tieppo, inspired by the rhythms and dynamics of a ballet lesson. La Barre was premiered in 2007 by American pianist and composer Scott Mayfield, whereas Le Centre was performed for the first time by the composer himself in a series of concerts in London in 2012. 
Part of the collection has then been developed as a dance show for the theatre, with a captivating and enchanting choreography by Jessica Edgley, Mistress of The New English Ballet Theatre, with dancers Georgina Connolly, Francesca Tennant, Rachel Thomas, Natasha Trigg, Christopher Furlong, Craig Ward. 
A performance of an extract, Not to see or to see, took place on 18th March 2013 at Two Temple Place, London, during an exclusive viewing of the exhibition Amongst Heroes, with dancers from The New English Ballet Theatre. 


Opera meets physical theatre and storytelling fuses with contemporary music in this new Song Opera about passions, destinies, time, times and other bibble-babbles. 
Music by Luca Tieppo, Texts by Riccardo Bentsik, Dramaturgy by Iskandar Sharazuddin 
Two persons, a woman and a man – a She and a He – and a character – Mr Wyrd, who is introduced while assembling and trying to repair some impossible mechanisms, which are so strange and unusual that even he perhaps does not know whether they will work or not. In short, a kind of fate that seems to hesitate between freedom and accident, freedom and fate. Wyrd creates and interlaces plots, combines elements, plays with the laws of nature and chance. On this background made of alchemic magic, the other two characters act trying to meet each other, in search of a possible life, maybe in common. 
Wyrd is content with creating a suggestion, with seeing a new story start among all the possible stories. A story that starts by winding up a musical box and will be able to know by itself whether continuing its music endlessly or extinguishing itself when its energy will be burned-out. 
Suggestions of Love, for female voice, male voice, actor and piano, develops the tradition of the ‘lied’ as means of story-telling within the context of accessible contemporary music. At the same time, the spectators are no longer passive listeners but are asked to get involved, to take Mr Wyrd’s suggestions and make them their own. 
Cast 2012: Amy J Payne, Kevin Kyle, George Collie 
Cast 2013: Claudia Jones, Nir Kitaro, Iskandar Sharazuddin 

 ★★★★ Everything Theatre  “Suggestions of Love is wonderfully built on concepts of chance and fate. He and She are puppets to Mr Wyrd’s hand whilst still allowing for human will to take over. A wonderful experience”  

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