Writing Music They'll Still Be Singing
Music gives your story its emotional voice.
There is no single London Youth Opera style, and we actively encourage writing that reflects your own musical personality. Across our commissions you'll hear jazz, musical theatre, classical influences, folk, cabaret and contemporary writing. What connects them isn't the style - it's that the music serves the drama and gives performers something they love to sing.
Melody Matters
A memorable melody is one of the most powerful storytelling tools you have.
Melodies become the emotional thread running through a production. They help performers express the drama with confidence and give audiences something to hold on to long after the curtain falls.
When audiences leave the theatre humming a tune, it's often because the music has carried the story as much as the words.
Rhythm Creates Energy
Our professional orchestra gives composers the freedom to write with imagination.
That freedom allows for rich orchestration and rhythmic complexity, but we encourage maintaining a clear musical pulse wherever possible. Too much rubato or extended recitative can slow the dramatic momentum.
Complex rhythms can be wonderfully effective, provided they continue to drive the story forwards.
Spoken dialogue or spoken recitative also has an important place when it serves the drama naturally.
Every Style Has a Place
There is no house style at London Youth Opera.
Some of our most successful commissions have blended different musical influences within the same score. And made effective use of single players playing multiple instruments.
Rather than asking what style you should write in, ask what musical language best serves your story and your characters.
Our commissions don’t sound alike. We want to hear your own musical voice.
Writing for Young Performers
Young performers rise to challenges.
The most memorable arias from our commissions are not the longest or the most technically demanding. They're the ones that sit comfortably within the singer's range, communicate the drama clearly and allow their personality to shine through.
The same is true for ensemble writing. Catchy melodies, vibrant rhythms and music that feels rewarding to perform quickly become favourites in the rehearsal room.
The most rewarding moment for me isn't the first rehearsal, it's when the music stops feeling like notes on a page and starts belonging to the young people performing it. Hearing the cast humming a new theme during the rehearsal break is one of the clearest signs that a commission has now come to life.
Questions to Ask Yourself
- 01
Will performers still enjoy singing this after twenty rehearsals?
- 02
Does the melody help tell the story?
- 03
Does the musical pulse keep the drama moving?
- 04
Could different musical styles strengthen different parts of the story?
- 05
Will audiences remember at least one melody when they leave?