“Copeland commanded the audience’s attention and praise.”
(Los Angeles Times)
Stewart Copeland has spent more than three decades at the forefront of contemporary music as rock star and acclaimed film composer, as well as in the disparate worlds of opera, ballet, and world and chamber music.
Recruiting Sting and Andy Summers in 1977, Copeland is renowned as the founder of The Police, a band that became a defining force in rock music from the ‘80s through to the present day. His career includes the sale of more than 60 million records worldwide, and numerous awards, including five Grammy awards.
Copeland moved beyond the rock arena in the mid-1980s when he returned to his classical roots with creative pursuits in concert and film music. His most recent concert works include BEN-HUR, A Tale of the Christ commissioned by Virginia Arts Festival, which features Copeland as soloist in a live orchestral score for the 1925 silent film; Tyrant’s Crush: Concerto for Trapset and Orchestra commissioned by the Pittsburgh Symphony Orchestra, Poltroons in Paradise commissioned by the Royal Liverpool Philharmonic Orchestra; and Gamelan D’Drum, commissioned by the Dallas Symphony Orchestra for the world percussion group D’Drum.
In 2017, The Chicago Opera Theater premiered Copeland’s surreal chamber opera The Invention of Morel, a co-commission with Long Beach Opera based on the novel by Adolfo Bioy Casares. Copeland has also written two operas based on stories by Edgar Allen Poe: The Cask of Amontillado and The Tell-Tale Heart. This season, The Sheriff of Luxembourg, Stewart Copeland’s rousing new work for solo percussion and tape, will be premiered by Christoph Sietzen in Cologne and toured in Europe throughout the season.
Recipient of the Hollywood Film Festival’s first Outstanding Music in Film Visionary Award, a Grammy nominee for his 2005CDOrchestralli, and a 2003 inductee to the Rock and Roll Hall of Fame, Copeland has been responsible for some of the film world’s most innovative and groundbreaking scores. His numerous film scores include Oliver Stone’s Wall Street, the seminal score for the Golden Globe-nominated soundtrack for Francis Ford Coppola’s Rumble Fish, the score for Bruno Barreto’s Oscar-nominated Four Days in September and his Emmy nomination for the Showtime pilot and series Dead Like Me. His work in television includes contributions to The Equalizer, Babylon V, and most recently Desperate Housewives. The rise, subsequent success, and ultimate demise of The Police over an eight-year period were all recorded and kept as a video diary in 8mm film by Copeland. That diary became the film Everyone Stares: The Police Inside Out, which premiered at the Sundance Film Festival and debuted on the Showtime network.
Never one to rest between projects; Stewart and keyboard virtuoso Jon Kimura Parker recently formed an instrumental quintet with a highly eclectic repertoire including interpretations of music by Stravinsky, The Police, Debussy and Aphex Twin.
Polyarts are proud to represent Stewart Copeland as a composer as well as his live performances of orchestral (including video games) and classical works (dance, chamber).
“It builds to such a pitch of skittering hyperactivity that by the end Copeland seems to be intent on developing his own genre – maximalism, perhaps.”
The Guardian about Tyrant's Crush
“How could anyone not enjoy such exuberance? Copeland…bounded joyfully on stage to take a bow, punch the air and shout ‘yes!’”
Liverpool Echo about the Tyrant's Crush
“The audience cheered between and after the concerto’s three movements. It was wild, highly energetic and just plain fun.”
San Antonio Express News about the Tyrant's Crush
“a daring, dynamic and challenging piece that is in keeping with Copeland’s history as a composer of beautifully idiosyncratic pieces”
Buffalo News about the Tyrant's Crush
“The captivating mix of expressive faces, mood changing screen colors and dynamics of music made seeing a movie feel fresh again, even one almost 100 years old…One of the most surprising successes of the season.”
Jazz Weekly about Ben-Hur
“From the in-your-face rock percussion announcing the familiar MGM lion to the final cymbal echoes ringing over the resurrection finale, Copeland commanded the audience’s attention and praise.”
Los Angeles Times about Ben-Hur
“It marries classical music and rock, the composed and the spontaneous”
National Post about Off the Score
“Morel’s rhythmically hypnotic score greatly validates him [Copeland] as a classical composer to reckon with.”
Opera News about The Invention of Morel
“This is Copeland’s fifth opera (he is also credited as co-librettist), and he has his chops in place. The 87-minute score has the feel and flow of opera spiked by occasional pastiches of rhumbas or ‘20s jazz and a minimum of rock.”
The LA Times about The Invention of Morel
“It’s no surprise coming from the guy who got the No. 10 spot on Rolling Stone’s list of 100 greatest drummers of all time that, in “The Invention of Morel,” the drum parts are awesome — they are the incessant heartbeat of the opera.”
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