Rosalind Parker is a director who works with opera and interdisciplinarity.
She is currently pursuing the following lines of
enquiry. . .
Rosalind was invited to create the Alma Royalton Kisch post for arts and inter-faith for the Cambridge Interfaith Programme as a result of her MPhil in British Muslim Identity post 7/7.
She was director of productions for Ulfah Arts and Media, muslim women’s social enterprise (UK, Kosovo) and was the founding Arts voice on the European Network on Religion and Belief .
Through her work she offers conversation with religious praxis, interfaith dialogue, and British Muslim relations post-9/11. Her book Religion and Aesthetics’ invites this dialogue further into the space of theological implication, including for the Duke Cambridge Divinity Exchange: Theology, Modernity and the Arts.
Site-specific performance: opera beyond the concert hall, opera without the orchestral pit. Discovering a sound-led approach using Schoenberg’s Pierrot Lunaire in the Grade II Edwardian Bath-house, Moseley Road Baths.
The School of Early Reflections, directorial - acoustic partnership with Pedro Novo, Acoustic Engineer, Max Fordham, Leanne Vandenbussche, Scenographer Internationaal Theater Amsterdam, and Composer Architect Dr Emma-Kate Matthews, Bartlett, UCL.
Recently published; Routledge Companion to Sound of Space, 2025
Exploring the practice of directing ‘triggering material’; creative work in conversation with psychological research, therapists and psychiatrists. Implications for performing and receiving bodies as we stage the unstageable.
This project began in relation to directing Returns by composer James Cave, an operatic study in PTSD through conscientious objector Iraqi-war veteran Joshua Casteel's experience in Abu Ghraib, workshopped and performed in York Minster.
This is a multi-disciplinary project funded by CRASSH, Cambridge Research for Arts Social Sciences and Humanities, with Dr Ian Burrows, English Tragedy, Cambridge English, and Prof Femi Oyebode, Birmingham Psychiatry.
Sustainably led approaches to production in conversation with ACE Environmental Responsibility, and published as case study of best practice in Climate and Theatre, Bloomsbury 2026.
This began from a Noye’s Fludde, Benjamin Britten, Thorington Theatre 2024, developed with the community, co-created with young people and those of all ages, and created on principles of sustainability, which led to a creative process involving local prisons, farming, construction and engineering.
For financial as well as environmental reasons, given the current climate of the arts, and the amount of waste in the opera industry; what is it to forage for an entirely natural performance, aspire towards being carbon neutral, and to give all back to the environment and or/arts industry after the curtain?
This is a call to establish a much needed language, that as an art form we are behind on.
The model of workshop based, sustainably-led community praxis was franchised into a new company, SizewellCreative, of which she is Creative Director [see more info on Credits]