Samuel Penderbayne in an Australian composer based in Hamburg, Germany.
His work, although extending to instrumental, chamber and orchestral music, has focussed in recent years on opera, including two full-length operas for the Hamburg State Opera (I.th.Ak.A. - 2018 and Raus aus Åmål - 2020), one for the Deutsche Oper Berlin (Die Schneekönigin - 2019) and a string of half-length operas for Kampnagel (Trialog - 2019), the Neuköllner Oper (Subotnik - 2020), Gaudeamus Muziekweek (May - 2020) and the Prinzregententheater (Alice im Wunderland - 2014). He has worked with directors such as Brigitte Dethier, Paul-Georg Dittrich, Alexander Riemenschneider, Tilman Knabe, Levin Handschuh und Ersan Mondtag.
Hybridisation, musico-multiculturality and cross-cultural discourse are primary goals of his compositional approach. This includes combining elements of modern music genres with the traditional space of classical music as well as hybridising elements of non-Western music in a 'third space' manner.
His work, although extending to instrumental, chamber and orchestral music, has focussed in recent years on opera, including two full-length operas for the Hamburg State Opera (I.th.Ak.A. - 2018 and Raus aus Åmål - 2020), one for the Deutsche Oper Berlin (Die Schneekönigin - 2019) and a string of half-length operas for Kampnagel (Trialog - 2019), the Neuköllner Oper (Subotnik - 2020), Gaudeamus Muziekweek (May - 2020) and the Prinzregententheater (Alice im Wunderland - 2014). He has worked with directors such as Brigitte Dethier, Paul-Georg Dittrich, Alexander Riemenschneider, Tilman Knabe, Levin Handschuh und Ersan Mondtag.
Hybridisation, musico-multiculturality and cross-cultural discourse are primary goals of his compositional approach. This includes combining elements of modern music genres with the traditional space of classical music as well as hybridising elements of non-Western music in a 'third space' manner.
