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Lesley Anne Sammons


Associate
Lessons
Choir
Keyboard
Piano
Provision
Tuition
Ensemble Leader
Performances in schools
Training
Workshops
Locations
Horsham
Lancing
Worthing
Venue
Horsham Music Centre
Age group
7-10
11-13
14-15
16+
Availability
Term times
After school
School holidays
Education & training

Lesley Anne studied at Trinity College of Music (LTCL Piano Performance), Guildhall School of Music (LGSM Piano Accompaniment) and The National Opera Studio to become a Repetiteur .

Skills & experience

As a freelance musical director, repetiteur and coach, Lesley Anne has worked for Teatro Massimo di Palermo, Glyndebourne Festival and Tour, English National Opera, Opera North, English Touring Opera, Royal Opera House, Grange Park Opera, Opera Holland Park (conducted Madama Butterfly also with LPO, Barbiere di Siviglia) Longborough Festival Opera (conducted The Magic Flute , La Calisto and Cosi Fan Tutte in my arrangements with The Barefoot Band .

Amongst numerous ongoing projects on which she is currently working is the Triple Threat Course (Musical Theatre) at The University of Chichester.

Testimonials

In the pit Lesley Anne Sammons’s excellent Barefoot Band matched what was happening on stage with hollowed-out accompaniments that were more 1920s Berlin than 17th-century Venice. Pizzicato-bass jazz riffs, soulful accordion decorations, scrunchy harmonies, lots of percussion and some full-blown grunge effects: it shouldn’t have worked with Cavalli’s elegant baroque melodies, but it did.    Matthew Williams Ellis – The Times

The “given” is that the orchestra is The Barefoot Band led by its founder, the clever Lesley Anne Sammons. Sammons has re-orchestrated Mozart for this show. Now, there are several good reasons given for this: making the opera more funky, more modern move appealing to a contemporary audience; clearing away the cobwebs of a too-familiar classical work and making it feel more as it must have felt for the original audience in 1792.
★★★★

Longborough Festival Opera’s new production of Così Fan Tutte is not so much ’for reduced forces’ as it is radically, rewardingly reinvented. Performed in-the-round in LFO’s circus-red Big Top, conductor Lesley Anne Sammons’ arrangement of Mozart’s score – played with flair by the six-piece Barefoot Band – adds dulcet recorders to sensuous clarinet, injects an accordion’s brassy punch, and complements double bass with electric strum. Classical purism it is not; classy panache it certainly is.          THE STAGE

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