Alwynne Pritchard is a British performer, composer, artist and curator, based in Bergen, Norway. In her music and performances, Alwynne explores relationships between musical expression and the human voice and body. She has appeared as an actor, vocalist and physical performer in a number of stage productions, as well as directing and developing choreography for her work. In 2015, she formed the music-theatre company Neither Nor with her partner Thorolf Thuestad.

Alwynne has composed for, and performed with, leading musicians and ensembles across the globe. Her work Decoy, created at the Heinrich Strobel Stiftung in Freiburg in 2006, for the Donaueschingen Musiktage, was awarded the special prize given by the Foundation Ton Bruynèl, STEIM and the Foundation GAUDEAMUS. In 2016, Alwynne was awarded the commission to create a fanfare or ‘marker’ to celebrate the opening of Snøhetta’s building for the University of Bergen’s newly created Department of Art, Music and Design, for which she created the book of text scores, up without an insistent casting away.

Alwynne’s professional life has also included stints as a writer and presenter for BBC Radio, a composition teacher at Trinity College of Music in London and as Artistic Director of both the Borealis festival and BIT20 Ensemble.

Alwynne Pritchard’s music is published by Verlag Neue Musik and she is Managed by Maestro Arts.

As well as keeping you updated with future and current events, audio, video and photographs from her past projects will be added. Watch this space!

“…playful, sinister and altogether riveting.”
– The Telegraph

“Embrace the chaos: Alwynne Pritchard is spellbinding in her own Rockaby with a duo of Foley artists and the BBC SSO under Ilan Volkov.”
– theartsdesk

“…energetic and provocative…”
– The Wire

“The intensity of her movement combined with her vocals was transfixing. I was reminded fleetingly of Butoh, of Sudden Infant (the provocative Berlin-based Noise artist), and of sinister automata.”
– Philip Tagney, member of Langham Research Centre

“…a delivery between that of a rock-music diva and a verbal and physical contortionist…”

“It seemed comprised of dense webs of sound, but faltering and cut into short bursts, like shredded Ligeti. Each one had a slow inevitability, like the slow tread of some strange insect, before it dissolved into an unpredictable cloud. It was utterly captivating. I was already in love with twentieth-century music, circling broadcasts of Bartók, Messiaen and (more rarely) Stockhausen in the Radio Times every week, but I hadn’t heard anything like this. Even if my memory of its details have corrupted over time, that ear-opening impact hasn’t – it showed me a kind of music I didn’t know existed and made me hungry for more.”
– Time Rutherford-Johnson, British Music Collection: 50 Things

“…earthy, sensual, reflective – but above all – totally gripping.”
– Iain Chambers, member of Langham Research Centre

“…cool and lucid…”
– The Independent

“Alwynne Pritchard’s free performance contrasts with the prosaic nature of the venue. She moves through the utilitarian space with a flamboyance that is decadent, rude, and risky.”
– Public Books

“…musically intriguing.”
– Gramophone

“Valget af Alwynne Pritchard er interessant, fordi hun fysisk set fremstår som en næsten diametral modsætning til den Alda Merini… Alwynne besidder derimod en meget udvandt, dynamisk og næsten magnetisk kropslig energi. Hendes lysende udstråling forstærkes af den glatbarberede isse, et par klare grønne og nysgerrigt vågne øjne. Hun ligner Aldas ord, men ikke hende selv.
(The choice of Alwynne Pritchard is interesting because she is physically almost the exact opposite of Alda Merini… Alwynne possesses instead an extracted, dynamic and almost magnetic bodily energy. Her luminous radiance is enhanced by the clean-shaven head, a pair of bright green, alert and curious eyes. She looks like Alda’s words, but not like Alda herself.)”
– Italien-Kunst.dk

“…a composer of originality.”
– The Times

“Pritchard explored a wide spectrum of vocal timbres through vowel shaping, varied vibrato speeds, tongue clicks, and vocal fry, all with incredible control of technique.”