Luís Soldado
Researcher at the Center for Sociology and Musical Aesthetics, CESEM, Universidade Nova de Lisboa, where he is developing projects related to the study and composition of contemporary opera and its new forms of communication. He completed his PhD in Composition as a fellow student of the Foundation for Science and Technology at the Royal College of Music in 2012 and returns to Lisbon in the same year.
His music has been programmed by various groups and orchestras, among them, Grupo de Música Contemporânea de Lisboa, London Contemporary Chamber Orchestra, Nederlands Blazers Ensemble, Orquestra Clássica do Sul, RCM Sinfonietta, Orquestra Gulbenkian and Composers Ensemble.
Among his most recent works are the chamber opera “Hotel Suite”, with libretto by Rui Zink, premiered in 2011 in London, the soundtrack for the silent film “Os Lobos”, by Rino Lupo (order of the 2nd UK Portuguese Film Festival) premiered in 2011 at the Barbican Center in London, the “Fado Olissiponense” chamber opera, with libretto by Rui Zink, premiered in 2012 at the Teatro Nacional de São Carlos, the street opera “Serei eu fugindo?”, with libretto by Rui Zink, premiered in 2013 as part of the Andar em Festa 2013 initiative, Edgar Allan Poe’s “O Corvo” chamber opera, premiered in 2015 and edited on CD in 2016 by Inestética and Álvaro de Campos’ “Tabacaria” chamber opera, premiered in 2017. “Tabacaria” will be edited on CD in 2018 by Inestética.
He currently holds the post of Associate Composer at the Orquestra Clássica do Sul, since 2015.
PARTITURAS PUBLICADAS
“Sisyphus” (2015), para quarteto de cordas, publicado pela Scherzo Editions.
“O homem das Três pernas” (2013), para violoncelo solo, publicado pela Scherzo Editions.
“All love letters are ridiculous” (2013), para soprano e ensemble, publicado pela Scherzo Editions.
DISCOGRAFIA
“O Corvo” (2015) ópera de câmara. editado pela Inestética Companhia Teatral, 2016.
In many European cities, operas are nowadays presented in several public spaces such as museums, public parks, public transportations, resorting to logics of communication distinct from those still used today in the major opera theatres. These new practices motived me to create an artistic-research project that can promote these models of composition, production and music-theatre communication not only in the musical community but also in local communities. Through a systematic process of artistic creation and research I aim to comprehend and explore these models of music-theatre communication and have as research outcomes the composition, production and presentation of four operas, three papers and a number of workshops and public presentations.