Biography

Tom Coult is a composer born in London in 1988. His playful and seductive music has been championed by many of the UK’s major orchestras and ensembles, and in 2021 he was made Composer-in-Association with the BBC Philharmonic Orchestra. 

His first opera, Violet, with text by Alice Birch, was premiered in 2022 at the Aldeburgh Festival and on tour, and was described by The Telegraph as ‘the best new British opera in years‘. It has already been staged in second and third productions in Paris and Ulm, Germany, in 2022 and 2023. It has won or been nominated for: an International Opera Award, a South Bank Sky Arts Award, a Critics Circle Award, an IVORS Composer Award and a UK Theatre Award.

His large-scale pieces have included Pleasure Garden, a concerto that violinist Daniel Pioro has performed with the BBC Philharmonic and London Philharmonic Orchestras, Beautiful Caged Thing for soprano Claire Booth and the Mahler Chamber Orchestra, and St John’s Dance (premiered by Edward Gardner and the BBC Symphony Orchestra to open the First Night of the 2017 BBC Proms).

He has enjoyed further associations with ensembles such as Britten Sinfonia and London Sinfonietta (who premiered Spirit of the Staircase, nominated for a South Bank Sky Arts Award), and has been Composer-in-Residence at Aldeburgh Festival, Switzerland’s Musikdorf Ernen Festival, and Oxford Lieder Festival.

His music has been described as ‘funny and surreal and delicately poetic, all at once’ (The Telegraph), and ‘methodically crafted yet bewitchingly original’ (The Guardian) – ‘Coult is a composer who spins glittering, teasingly ambiguous patterns out of simple-seeming material…a very individual voice’ (The Telegraph).

Further performances have come from Netherlands Radio Philharmonic and Royal Philharmonic Orchestras, Los Angeles Chamber Orchestra, Orchestra of Opera North, Scottish Ensemble, and Manchester Camerata, while chamber works have earned performances by ensembles including Arditti Quartet, Quatuor Diotima, Psappha, Fidelio Trio, Riot Ensemble, Trondheim Soloists and soloists from the Philharmonia. 

Tom studied at the University of Manchester with Camden Reeves and Philip Grange and at King’s College London with George Benjamin. Between 2017 and 2019 he was Visiting Fellow Commoner in the Creative Arts at Trinity College Cambridge, and has taught on the Britten Sinfonia Academy composition course and with Aldeburgh Young Musicians. Awards include a Paul Hamlyn Award for Artists, the Lili Boulanger Memorial Fund Prize, Critics’ Circle Award and the Royal Philharmonic Society Composition Prize.

His compositions are published exclusively by Faber Music – for music hire, purchase or to enquire about a commission, please contact promotion@fabermusic.com. He also gratefully acknowledges support from the PRS Foundation.

Photo: Timothy Lutton

‘This latest appointment establishes 32-year-old Coult as one of the most distinctive and admired composers of his generation

 

Ashutosh Khandekar, Classical Music Magazine

‘Fierce and funny, magical and precise, it’s a dazzling piece – the best new British opera we’ve seen for some time’

 

Alexandra Cochlan, The Telegraph

‘None of it seemed to be contrived. The scheme was worked out with impressive assurance; everything was fresh, precisely imagined and made full use of what the Sinfonietta can do at its best’

 

Andrew Clements, The Guardian

Coult is a composer who spins glittering, teasingly ambiguous patterns out of simple-seeming material…In its gleeful reinvention of familiar things and ostentatious brilliance Coult’s piece recalled Thomas Adès, but the music’s sly way of pulling the rug out from under its own feet, plunging from noise to near-silence, revealed a very individual voice.

 

Ivan Hewett, The Telegraph

 ‘It was music of opulent but disciplined allure that promised much for the future. In fact, it made for one of those classic first encounters that feels as if one is in at the beginning of something truly significant.’

 

Michael White, Catholic Herald

‘Much of the remaining three movements featured slower-moving textures, methodically crafted yet bewitchingly original’

 

Hugh Morris, The Guardian

‘This strikingly brilliant work certainly represents the finest joint UK operatic debut since Martin Crimp and George Benjamin collaborated on Into the Little Hill in 2006’

 

George Hall, The Stage