Welcome to the site of Singing Composer
Jenni Roditi
On Jenni's music in general
On The Descent of Inanna (chamber opera)
On Spirit Child - the Prelude (chamber ensemble, female voice and duduk)
"...her interest lies in recent developments in voice production and expression, and her work, both as performer and composer, shows this to a degree unmatched by any other contemporary creative musician in Britain."
Robert Walker Smith. (Musical Opinion Magazine)
"Roditi's music is endearingly intimate.."
"..lithe and sensuous piano and voice"
Stephen Graham (The Journal of Music 2009)
Crouch End Festival ChorusRobert Walker Smith. (Musical Opinion Magazine)
"Roditi's music is endearingly intimate.."
"..lithe and sensuous piano and voice"
Stephen Graham (The Journal of Music 2009)
"Also in the first section was the fabulous 'Life' by Crouch End composer Jenni Roditi - a lively, joyous work sung with great relish by the choir"
David Winskill (Ham and High newspaper)
David Winskill (Ham and High newspaper)
On The Descent of Inanna (chamber opera)
"...a huskily eloquent tale-spinner, a passionate narrator between some robustly written ensembles...a score characterised by a vigorous near minimalism"
Hilary Finch. (The Times)
"...echoes ranging from Sondheim and Reich to African and Middle Eastern rhythms and cantillations.. many place where the score matches the situation memorably - for example - Inanna's return to life (The Raw Song) or her radiant first entry with its cascading string scales. (Share my Joy)"
Stephen Johnson (The Independent)
On Devotion that Moves the Heart (for choir and keyboard)Hilary Finch. (The Times)
"...echoes ranging from Sondheim and Reich to African and Middle Eastern rhythms and cantillations.. many place where the score matches the situation memorably - for example - Inanna's return to life (The Raw Song) or her radiant first entry with its cascading string scales. (Share my Joy)"
Stephen Johnson (The Independent)
"A beautiful, meditative, immediately accessible score."
Denby Richards. (Musical Opinion Magazine)
Denby Richards. (Musical Opinion Magazine)
On Spirit Child - the Prelude (chamber ensemble, female voice and duduk)
"There are concerts that make you realise what you've been missing. Time after time I've sat through evenings of music by young, college-educated composers, admiring the craft, the imagination, and wondering why the final feeling was one of emptiness. Thursday's Lontano concert provided the answer. Jenni Roditi's Spirit Child had the energy, the urgency and the directness of expression that so much well-intentioned new music lacks....
... I don't know if Spirit Child will ever melt stony hearts in Beijing, but it certainly melted mine. The ardent lyricism that emerged... in Roditi's opera Inanna was sustained here. Sianed Jones brought all her hard eadged passion to bear on the voice part and Dirk Campbell matched her ululationson the Duduk, an Armenian pipe instrument... Lontano sounded as though they believed in every note of the piece. They should take it up again, soon."
Stephen Johnson (The Independent)
On September Boxes (orchestral)... I don't know if Spirit Child will ever melt stony hearts in Beijing, but it certainly melted mine. The ardent lyricism that emerged... in Roditi's opera Inanna was sustained here. Sianed Jones brought all her hard eadged passion to bear on the voice part and Dirk Campbell matched her ululationson the Duduk, an Armenian pipe instrument... Lontano sounded as though they believed in every note of the piece. They should take it up again, soon."
Stephen Johnson (The Independent)
"...it was Jenni Roditi who provided by far the best piece. A brittle, occasionally even brash, somewhat Varesian work, full of panache and a fine sense of how to handle such drama in orchestral terms."
Keith Potter. (Classical Music Magazine)
On Siddhartha Spirit Child (chamber opera)Keith Potter. (Classical Music Magazine)
"... a meditatively powerful musical form... simple and striking melodic colours....textures of silk and velvet. Sianed Jones's extrordinary and beautiful singing voice reflects her travels to places such as Kenya, Madagascar, Mongolia and Kazakhsthan to pick up different vocal techniques. ...top quality musical components..."
Rachael Haliburton. (Evening Standard).
"... the music showed originality. Sianed Jones proved capable of extrordinary things: a soaring near falsetto, a cavernous chest register, a terrifying wail. Her voice required amplification, which worked. I wish more composers would investigate the possibilities of amplifying non-classical voices."
Nick Kimberley. (The Observer.)
"..casts aside many of the operatic connotations in favour of a highly approachable piece, which would almost be as acceptable in concert form."
Peter Hepple. (The Stage)
Rachael Haliburton. (Evening Standard).
"... the music showed originality. Sianed Jones proved capable of extrordinary things: a soaring near falsetto, a cavernous chest register, a terrifying wail. Her voice required amplification, which worked. I wish more composers would investigate the possibilities of amplifying non-classical voices."
Nick Kimberley. (The Observer.)
"..casts aside many of the operatic connotations in favour of a highly approachable piece, which would almost be as acceptable in concert form."
Peter Hepple. (The Stage)
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Jenni does not send unsolicited e-mail attachments and operates a non-spamming policy. Some viruses can generate addresses - including Jenni's - in the 'From' field making it appear that the e-mail comes from a reputable source. We would advise everyone to ensure their anti-virus software is up to date and be very wary of opening unsolicited e-mail attachments.
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