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A large white sheet with pink, black and red geometric shapes hangs from a tall concrete support, fluttering with movement
Lauren Brincat - Tutti Presto fff Image: Romello Pereira

Lauren Brincat

Tutti Presto 𝆑𝆑𝆑
2022
Live sculpture
Commissioned by the Sydney Opera House for VIVID LIVE 2022

Oscillating between sound, performance and choreography, Lauren Brincat’s live sculpture, Tutti Presto 𝆑𝆑𝆑, reinterprets the iconic site of the Sydney Opera House as a layered, experimental, roving contemporary art project. This new polyphonic piece pulses with the sound of temperatures rising! rising! rising! and the burning intensity of the momentary present. 

On the Forecourt Steps | Contemporary Art

COVID-safe and event information

The health, safety and wellbeing of everyone at the Opera House is our priority. When you return to the Opera House, you will notice some important changes that have been implemented to keep the community safe, which are regularly reviewed and updated in consideration of the Public Health Order prevailing at the time. Please follow our conditions of entry at all times:

  • Face masks are strongly recommended for all patrons while inside our theatres and foyers, including during the performance. Please bring your own mask;
  • As you move around the Opera House, practise physical distancing (1.5 metres whenever possible) and follow the guidance provided by our staff and signage; and
  • Within venues, always take your allocated seat.

Please refer to our updated General Terms and Conditions for Tickets and Attendance at Events for detailed information about our ticketing policies. These conditions may change between the time of purchase and the event date. Ticketholders will be contacted directly regarding any changes to their event.

Please check our plan your visit page prior to attending the Opera House for the most up-to-date information.

This is a free event

This is a free non-ticketed event

Four performances on Friday 27 May, Saturday 28 May, Friday 3 June and Saturday 4 June 2022

Friday 27 May, 4.30–5.15pm
Saturday 28 May, 4.30–5.15pm
Friday 3 June, 4.30–5.15pm
Saturday 4 June, 4.30–5.15pm

 

The duration of each performance is 30 minutes

Event duration is a guide only and may be subject to change

“This new polyphonic piece pulses with the sound of temperatures rising! rising! rising! and the burning intensity of the momentary present. Step by step, I’m pulsing with anticipation to make a work which will make you feel as if someone placed a defibrillator on your eyeballs and drum kit in your soul.” 
Lauren Brincat

Beginning as a unique embodied response, Brincat has translated the words, sounds, actions and gestures of the Opera House building into an abstract cloth sail that serves as the cornerstone of a series of performances

Large, shapeshifting and fluid, the sail will be manipulated by a chorus of performers and the artist herself, accompanied by a musical score of drummers who are interpreting, beating and sounding the musical notations shaping the sail. 

In half hour performances during VIVID LIVE on the Sydney Opera House Forecourt and Monumental Steps, Brincat’s work uses a group of close collaborators from various backgrounds to make a scene. Brincat’s collaboration with co-composer Alyx Denison and textile designer Leah Giblin exists as an experimental sonic and visual intervention — offering audiences a moment of pause, imploring us to stop, think and feel. Through sound and spectacle, Tutti Presto 𝆑𝆑𝆑, reminds us of the importance of being alive, present in the now and encourages us to take note of the world around us.

The costuming of Tutti Presto fff has been supported by Kowtow

Presented by Sydney Opera House

About the artists...

Lauren Brincat

Lauren Brincat is an artist who works across diverse media from video and performance to sculpture and installation. Brincat employs moving images and their soundtracks to probe historical ruptures and failures of language. Using a variety of platforms – video installation, sculpture, performance and walking scores – her work explores non-verbal modes of expression through narratives or ideas. By distancing us from a logical, direct, language-based understanding, her work opens the door to multiple perspectives and interpretations.

In 2021 Brincat was included in the TarraWarra Biennial: Slow Moving Waters and in 2020 worked with the Kaldor Public Art Project 36: do it (australia). In 2019 The Plant Library, sculptural greenhouses were home to dozens of species, from edible flora grown by locals to plants that form part of Darug cultural practices with MCA C3West Projects, Tallawong, NSW.  Other Tempo was a major work collaborating with 8 drummers on the foyer of Carriageworks for Liveworks Festival, Sydney. 

In 2016, Brincat presented Salt Lines: Play It As It Sounds, Performance Instruments, a site-specific installation at Carriageworks as part of the Biennale of Sydney. The piece was purchased by the Art Gallery of NSW to be included in their permanent collection. Brincat collaborated with musicians, composers, dancers and writers, twelve in total, with ninety instrument moves. This piece is a continuous work the first of a series of performance instruments that Brincat intends to create. Salt Lines: Play It As It Sounds, Performance Instruments was notably the first ever work with a instructional performance dimension purchased by the Art Gallery of NSW. Brincat and van Reyk's work Molto Echo 2016 was performed at the Museum of Contemporary Art, Sydney. The score was written for seven drummers who made the MCA walls move, a political piece highlighting the lack of female artists represented in the Arts. This instructional work was acquired by the MCA. In 2012, Brincat's work Tinnitus was the focus of an art lecture series, Tinnitus: a Symposium on Art and Rock’n'Roll, held at the Department of History of Art and Architecture, Harvard University 2012. Brincat attended and led a feature lecture on her career and work in Boston.

Image credit: Jacquie Manning and the Clothing Store Artist Studios, Carriageworks

Alyx Dennison

Alyx Dennison is a singer, composer and sound designer living and working on Gadigal Land. She is an advocate for equality in arts and education, with a particular interest in work that interrogates and seeks to dissolve class and hierarchy on systemic and intimate scales. The child of a foley artist and sound designer, she is sharply attuned to the placement, perception and sensations of sound, and is interested in the use of psychoacoustics in fostering empathy and communication.

She is proud to be a current associate artist at Belvoir Street Theatre, which has a rich history of amplifying underrepresented voices - currently developing the composition, sound design and live score (performed alongside Marcus Whale) for their Rep Season, a bold undertaking which sees a team of cast and creatives develop and stage two plays at once. They are “Wayside Bride” by Alana Valentine and “Light Shining in Buckinghamshire” by Caryl Churchill and are directed by Hannah Goodwin and Eamon Flack. Other composition and sound design credits for stage include; “Grey Rhino” by Charmene Yap and Cass Mortimer Eipper for Sydney Festival and Carriageworks 2022, “Limbic” by Cass Mortimer Eipper for Australasian Dance Collective 2022; “The Mother Project”  a multi-disciplinary work directed by Clemence Williams 2022; for Agatha Gothe-Snape; “The Outcome is Certain” 2020 and “Wet Matter” 2020 (lead by Evelyn Morris) for MUMA,“Double Beat” by Sara Black for Form Dance Projects 2019-2022; for Griffin Theatre Company: “Splinter” by Hilary Bell and directed by Lee Lewis 2019 and “Superheroes” by Mark Rogers and directed by Shari Sebbens 2020; for Karul Projects: “Mi:wi” by Taree Sansbury for Next Wave Festival 2018, “WOLLUMBIN / / WARNING” 2017 and “CO_EX_EN” by Thomas E.S. Kelly for Dance Massive 2019, “Story Club Solo” by Zoe Norton-Lodge for Sydney Opera House 2017. Film credits include; “Nataptedi” by Yolanda Lowatta for Art_Apart 2022; “Liminal” for Australasian Dance Collective 2020 and “ID” for Transit Dance Company 2020 - both choreographed and directed by Cass Mortimer Eipper; a series of short films born of Liverpool Girls’ Highschool’s Refugee Art Project, and “Outbreak Generation” by Brooke Goldfinch which premiered at Sydney Film Festival in 2017. In 2022, she is slated to work again with Hannah Goodwin on a new play for Belvoir’s 25a season, as well as new works by performance artist Cheryn Frost, contemporary artist Lauren Brincat, choreographer/director Shaun Parker and her frequent collaborator Cass Mortimer Eipper.

Image credit: Ryan Stuart

Leah Giblin

Leah Giblin is a bespoke textile designer and costume artist. Her great interests have always been clothes-making, textiles and the environment. She began with a degree in Environmental Studies, while always sewing and making in her spare time. Her love of costume and historical fashion developed over time and eventually drew her to NIDA, where she completed a costume degree. She followed that with ten years in the film and television industry, working as a costume maker, stylist, costume designer and standby. During that time she also collaborated with visual artists (Mikala Dwyer, Koji Ryui, Lauren Brincat, Agatha Gothe-Snape and Justene Williams). 

Leah Giblin

Performers

Lauren Brincat 

Holly Conner

Alyx Dennison 

Alison Foster 

Leah Giblin

Sarah Jamieson 

Niki Johnson 

Chloe kim

Verity Mackey

Bonnie Stewart

Frequently Asked Questions - COVID-19 Safety Measures

What safety measures have you implemented?

Nothing is more important to us than the health and safety of everyone on site, and we are closely following NSW Health guidelines and advice. The Sydney Opera House is registered as a COVID Safe business with the NSW Government. For detailed information about our COVID-19 safety measures and what’s required of you when visiting, please see our plan your visit page.

What am I required to do as an audience member?

Face masks are strongly recommended for all patrons while inside our theatres and foyers, including during the performance. Please bring your own mask.

As you move around the Opera House, practise physical distancing (1.5 metres whenever possible) and follow the guidance provided by our staff and signage.

Within venues, always take your allocated seat.

For detailed information about our COVID-19 safety measures and what’s required of you, please see our plan your visit page.

Do I need to be vaccinated to visit the Sydney Opera House?

The Sydney Opera House no longer requires patrons to show that they are fully vaccinated against COVID-19.

Am I required to wear a mask?

Face masks are strongly recommended for all patrons while inside our theatres and foyers, including during the performance. Please bring your own mask.

How are you managing contact tracing? 

Contact information is required when making a booking with us and upon arrival at the Opera House, as set out in our General Terms and Conditions for Tickets and Attendance at Events and our Customer Privacy Statement.

As the ticket purchaser, you are responsible for recording the contact details of your guests. Contact information will only be used for the purposes of contact tracing, if required, and will be deleted at least 28 days after your event.

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