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.

Police say Masood Masjoody was most likely murdered; Iranian expats suspect he was killed for his criticism of the theocratic regime

Police in Canada have concluded that a missing Iranian activist was most likely the victim of murder, prompting fears that his disappearance has the hallmarks of a transnational repression campaign targeting critics of Tehran.

Masood Masjoody, a mathematician critical of both Iran ’s theocratic regime and the exiled family of the former shah , went missing in early February in the city of Burnaby, British Columbia.

Police say Masood Masjoody was most likely murdered; Iranian expats suspect he was killed for his criticism of the theocratic regime

Police in Canada have concluded that a missing Iranian activist was most likely the victim of murder, prompting fears that his disappearance has the hallmarks of a transnational repression campaign targeting critics of Tehran.

Masood Masjoody, a mathematician critical of both Iran ’s theocratic regime and the exiled family of the former shah , went missing in early February in the city of Burnaby, British Columbia.

Police say Masood Masjoody was most likely murdered; Iranian expats suspect he was killed for his criticism of the theocratic regime

Police in Canada have concluded that a missing Iranian activist was most likely the victim of murder, prompting fears that his disappearance has the hallmarks of a transnational repression campaign targeting critics of Tehran.

Masood Masjoody, a mathematician critical of both Iran ’s theocratic regime and the exiled family of the former shah , went missing in early February in the city of Burnaby, British Columbia.

Author of more than 30 novels, including Fado Alexandrino and The Inquisitors’ Manual, was widely seen as one of the most important voices in modern Portuguese literature

António Lobo Antunes, the Portuguese novelist whose dark, polyphonic fiction confronted the traumas of dictatorship, war and Portuguese society, has died aged 83.

Widely regarded as one of the most important Portuguese writers of the late 20th and early 21st centuries, he produced more than 30 novels that reshaped Portuguese writing and made him a perennial contender for the Nobel prize for literature. He received numerous honours, including the Camões prize, the most prestigious award in the Portuguese language, and several major European literary prizes. His death was confirmed by the publisher Dom Quixote.

Author of more than 30 novels, including Fado Alexandrino and The Inquisitors’ Manual, was widely seen as one of the most important voices in modern Portuguese literature

António Lobo Antunes, the Portuguese novelist whose dark, polyphonic fiction confronted the traumas of dictatorship, war and Portuguese society, has died aged 83.

Widely regarded as one of the most important Portuguese writers of the late 20th and early 21st centuries, he produced more than 30 novels that reshaped Portuguese writing and made him a perennial contender for the Nobel prize for literature. He received numerous honours, including the Camões prize, the most prestigious award in the Portuguese language, and several major European literary prizes. His death was confirmed by the publisher Dom Quixote.

Author of more than 30 novels, including Fado Alexandrino and The Inquisitors’ Manual, was widely seen as one of the most important voices in modern Portuguese literature

António Lobo Antunes, the Portuguese novelist whose dark, polyphonic fiction confronted the traumas of dictatorship, war and Portuguese society, has died aged 83.

Widely regarded as one of the most important Portuguese writers of the late 20th and early 21st centuries, he produced more than 30 novels that reshaped Portuguese writing and made him a perennial contender for the Nobel prize for literature. He received numerous honours, including the Camões prize, the most prestigious award in the Portuguese language, and several major European literary prizes. His death was confirmed by the publisher Dom Quixote.