St Martin-in-the-Fields, London
Shiva Feshareki’s Divine Feminine fails to find its focus despite soprano Emma Tring’s incandescent, fearless performance of Celtic deity Brigid

S hiva Feshareki ’s Divine Feminine is many things, but this latest work from the multi-award-winning British-Iranian composer and turntablist is not, as billed, an opera. Premiered at St Martin-in-the-Fields, transforming the nave, gallery and sanctuary of the central London church into an intricately amplified “360° soundscape”, Divine Feminine might be an installation, a piece of music-theatre, even a therapy session. What it’s not is a story urgently and solely committed to being told through song.

This isn’t stylistic gatekeeping. Terminology matters – if only because it creates a useful frame of reference and expectation. Art loses energy if it has no solid architecture to bounce off, no walls to scale or dismantle. As it was, this meditative celebration of the divine feminine – a concept never explicitly defined here, but doing sun salutations at the nexus of fecundity and sisterhood, rebirth and goddess-energy – chanted and shouted and stamped and danced, but never found its focus.

St Martin-in-the-Fields, London
Shiva Feshareki’s Divine Feminine fails to find its focus despite soprano Emma Tring’s incandescent, fearless performance of Celtic deity Brigid

S hiva Feshareki ’s Divine Feminine is many things, but this latest work from the multi-award-winning British-Iranian composer and turntablist is not, as billed, an opera. Premiered at St Martin-in-the-Fields, transforming the nave, gallery and sanctuary of the central London church into an intricately amplified “360° soundscape”, Divine Feminine might be an installation, a piece of music-theatre, even a therapy session. What it’s not is a story urgently and solely committed to being told through song.

This isn’t stylistic gatekeeping. Terminology matters – if only because it creates a useful frame of reference and expectation. Art loses energy if it has no solid architecture to bounce off, no walls to scale or dismantle. As it was, this meditative celebration of the divine feminine – a concept never explicitly defined here, but doing sun salutations at the nexus of fecundity and sisterhood, rebirth and goddess-energy – chanted and shouted and stamped and danced, but never found its focus.

St Martin-in-the-Fields, London
Shiva Feshareki’s Divine Feminine fails to find its focus despite soprano Emma Tring’s incandescent, fearless performance of Celtic deity Brigid

S hiva Feshareki ’s Divine Feminine is many things, but this latest work from the multi-award-winning British-Iranian composer and turntablist is not, as billed, an opera. Premiered at St Martin-in-the-Fields, transforming the nave, gallery and sanctuary of the central London church into an intricately amplified “360° soundscape”, Divine Feminine might be an installation, a piece of music-theatre, even a therapy session. What it’s not is a story urgently and solely committed to being told through song.

This isn’t stylistic gatekeeping. Terminology matters – if only because it creates a useful frame of reference and expectation. Art loses energy if it has no solid architecture to bounce off, no walls to scale or dismantle. As it was, this meditative celebration of the divine feminine – a concept never explicitly defined here, but doing sun salutations at the nexus of fecundity and sisterhood, rebirth and goddess-energy – chanted and shouted and stamped and danced, but never found its focus.