British mezzo-soprano Bethan Langford studied at the Guildhall School of Music & Drama and the National Opera Studio and was a 2018/19 Emerging Artist for Scottish Opera. Highlights so far include her debut at the Royal Opera House Covent Garden in Maxwell's The Lost Thing, Dorabella (Così fan tutte) for Bury Court Opera, Second Lady in Tom Allen's Magic Flute for Scottish Opera, Second Angel in George Benjamin's Written on Skin with the Melos Sinfonia at LSO St Lukes and on tour at The Mariinsky Theatre, Third Maid (Elektra) under Esa-Pekka Salonen for the Verbier Festival, Noble Orphan in Richard Jones' Der Rosenkavalier at the Glyndebourne Festival and the BBC Proms and the title role in The Rape of Lucretia at Grimeborn.
A keen recitalist, Bethan has performed at many leading concert venues and festivals around Europe including the Wigmore Hall, Heidelberger Frühling Festival, Aldeburgh Festival, Buxton International Festival, the Ryedale Festival, International Lied Festival Zeist, and the Oxford Lieder Festival. She is a founding member of the lieder and part-song ensemble, Schubert & Co.
Bethan is a Samling Artist, a Les Azuriales Young Artist and a Yeoman of the Musicians' Company. Future engagements include Lola in Cavallier Rusticana for Scottish Opera, recitals at the Lewes Festival of Song and Edinburgh International Festival with Keval Shah, and her role debut with English National Opera. She is excited to be workshopping and developing a new piece, Indus, based on her experiences as a disabled artist, and is grateful to the Help Musicians Fusion Fund for their generous support.
I am using this funding to develop a new piece of music theatre, Inuds, inspired by my experiences as a disabled artist in the opera industry.
Indus will be an intimate new theatre work and unique approach to integrated access, using electronic music, foley, audio description and the operatic voice. It explores the social model of disability through my experiences, creating a powerful and equal experience for both visual impaired and sighted audiences.
The funding will enable myself and my collaborators to embark upon the crucial developmental phase of the piece - we have been offered a residency at Snape Maltings to do this. The aim is to develop two key excerpts from the piece to perform in a showcase, which will be vital in securing the future of the work. It will be attended by producers from a list of 26 organisations who have expressed interest, including the Royal Opera House, Music Theatre Wales and the Southbank. Two excerpts from the residency will be audio recorded as part of Together 2012's 'Together Festival'. We will test whether the digital format helps increase accessibility for those with limited capacity to travel.
The funding will give me the opportunity to work with new collaborators, such as the composer Laura Bowler, disability consultant Fotlnel Galanopoulou and and artistic consultant Ruth Sullivan.