Welcome

Alwynne Pritchard is a British performer, composer, artist and curator based in Bergen, Norway. She is co-founder of the music-theatre company Neither Nor and Artistic Director of the BIT20 ensemble. Her 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…”
– ALL ABOUT JAZZ – NEW YORK

“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

“…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

“…a composer of originality.”
– The Times