MUSIC
I n February all students studying A-level music set off for the Royal Opera House, Covent Garden, to see Adriana Lecouvreur . In the opera, Angela Gheorghiu is supported by an astounding cast, including the baritone Gerald Finley who offers a good characterised study of Michonnet, a stage manager deeply in love with the star, Angela. The velvet-toned voice of Uzbekistanian Mezzo Ksenia Dudnikova’s Princesse de Bouillon, Adriana’s ruthless royal rival, was superb and American tenor Brian Jagde used his tremendously powerful voice to represent Maurizio, Count of Saxony, the corrupt military adventurer with whom they’re both deeply in love. After the performance we were extremely privileged to have a I love producing and spend all my spare time on the software programme Logic, creating some exciting compositions. Logic is one of the best for making music, as it comes readily prepared for recording, producing, mixing and mastering. It is also ready for the studio and comes with plenty of great nuggets to enhance productions. Most famous composers, particularly film composers, use Logic to create their compositions. I entered the Composition Competition this year hoping I was in with a chance of winning £50. My track, Vision , was made in Logic Pro X, and was inspired by the likes of Flume. It began with the chopped vocals
STAGE STRUCK
backstage tour, led by Jeff Carrigan, which included an introduction to the colourful history of the theatre, as well as an insight into the redevelopment of the Royal Opera House and a look at aspects of current productions. We were totally mesmerised by the sheer grandeur of the backstage area, which was equivalent in size to six football pitches. At any one time there are around four or five productions taking place in the Opera House and each set is moved around backstage on giant platforms controlled electronically by a man with an iPad and a team of 1,000 staff. The trip gave us a real insight into just how much work goes into an opera and seeing the set on stage is only scratching the surface of the whole picture. in the break, giving it a somewhat eerie, bare sensation, which I tried to emphasise with reversed synths, orchestral hits and eagle calls. For the drop, I used lots of little, peculiar sounds, from chimpanzee calls to wolf howls to loon calls, to add that sense of the mysterious and peculiar. I find producing in general to be very appealing, as the possibilities are endless. Taking a sitar and sculpting it into a dubstep bass, or a vocal mangled into an eerie shimmering pad, or even a dive into a swimming pool into a submarine is so exciting. And to have such power at one’s disposal to make music with is thrilling.
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THE POSSIBILITIES ARE ENDLESS
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