Renzo Spiteri is “an artiste who constantly surprises” and whose music “touches the soul directly”. An internationally respected sound artist, composer and musician, Renzo is renowned for his artistic versatility, creative use of sound and unlimited modes of expression. He shares his work base between the United Kingdom and Malta, although his own projects and collaborations with artists in all genres of artistic expression take him to different countries around the world. As an experimental soloist and arts collaborator, Renzo blurs the boundaries between composer, improviser, sound artist and live performer to create innovative and dynamic artistic dialogues that bear his unique sonic signature. His on-going concern with expanding the musical vocabulary of his performance practice and compositional technique has led to in-depth study and work process that results in audio experiences that have a strong sculptural and dimensional aspect to them. Such elements are evident in Renzo’s latest solo touring work Quintessence (2015) premiered at the Royal Northern College of Music in Manchester (UK) in partnership with Future Everything Festival 2015; in music composed for contemporary dance companies including in Anima/Animus (2015), Structured Unknown (2010) and Dance Meditation (2007); the music and sound design for the video projection Shack (2011) by Derek Nice; the installation performance Re:Public that celebrated Cork (Ireland) as European Capital of Culture (2005); and in Sounds Unlimited (2004) presented in collaboration with the Sonic Arts Research Centre (SARC) in Belfast (N. Ireland), British Council and Arts Council (N. Ireland). Renzo’s on-site projects include scoring and recording of music for the visitors’ audio guide at Hal-Saflieni Hypogeum, Malta, a UNESCO World Heritage Site, which led to the creation of the concept album and live performance Silence, Sounds And Spaces (2011) featuring unique on-site recordings at various Neolithic Sites. As a creative musician and collaborator with a career spanning more than 30 years, Renzo has performed in major festivals (WOMAD, Festival of the Desert, Musica Viva, PASIC) and venues (Royal Festival Hall- London, LSO St. Luke’s- London, Kennedy Center for the Performing Arts- Washington DC, SOTA- Singapore, National Concert Hall- Dublin, Babylon Club- Istanbul, Ludwig Forum- Aachen amongst others), and in July 2016 was invited to be part of the multi-national Mediterranean Concert at the Room of Human Rights and Alliance of Civilisations at the United Nations Headquarters in Geneva. Renzo has also given masterclasses and collaborated with the music departments at Queen’s University (Belfast), University of Iowa (USA), China Conservatory of Music (Beijing) and The Royal Conservatoire of Music of The Hague (The Netherlands). In 2004, Renzo spent a 5-week work intensive at the Sonic Arts Research Centre (SARC) in Belfast (N. Ireland) as musician in residence, and in 2008 he was appointed National Ambassador to the European Union’s “Year for Intercultural Dialogue”. Renzo is creative director and co-founder of the creative support platform #EngageCREATIVES; artistic director of Għanafest and the Malta World Music Festival; Cultural Ambassador to Le Meridien Malta; artistic director of the annual music event Teatru Unplugged held at Malta’s National Theatre Teatru Manoel, and an endorsed artiste for Yamaha Drums & Hardware, Paiste Cymbals & Gongs, Tycoon Percussion and Schlagwerk Percussion. Renzo has produced and released four albums with his works: ANIMA/ANIMUS (2015); SILENCE SOUNDS AND SPACES (2011); INKONTRI (2010) and THIS IS MY LANGUAGE (2005).

'Between The Heard' (stereo reduction from a 5-speaker, in the round layout). A sound installation that invites members of the public to listen in to Valletta, Malta's capital city. It captures the mood and movement through sound, pushing people to reconsider their perceptions and experience of Malta’s capital city. Experiencing the city purely through sound opens up many possibilities. As sound travels through space, connecting and rewriting it, we are invited to ask – What happens to the city when instead of being seen and inscribed, it is heard and allowed to flow? Time and space are reconfigured both in real life and through the sound piece.