I was thrilled to discover a wonderful review of Look How Brightly in the August issue of Gramophone.

The review, by Pwyll ap Siôn, describes the album as confirming the “strikingly searching style” of my music, while also highlighting some of its more unexpected and rhythmically dynamic moments.

How should we listen to John Tavener's Krishna? That was the question I left Grange Park Opera turning over, and by the end of the evening I had come to think it was the only question that mattered.

I have a confession to make: I've never felt completely at home in the classical music world. 

I felt hugely honoured when I was asked to compose a new setting of Christ’s “Seven Last Words” for Easter this year. I also felt the weight of 500 years of tradition on my shoulders. 

Dear Marie Stopes is my new opera inspired by a controversial sex manual from 1918 and an extraordinary archive of private letters that has startling relevance for today's world.

With such rich and complex source material, it felt important that the music, in some way, supported and reflected its central themes. I hope that using different voice types to raise questions about gender stereotypes goes some way towards achieving this.