Press Release

Insider Interview: Mia Zabelka, sound artist

On Monday, April 8 at 7:30 pm, the Austrian Cultural Forum New York presents the Austrian violinist and vocalist Mia Zabelka with experimental video artist Katherine Liberovskaya. The evening also features the legendary intermedia artist Phill Niblock performing his signature hypnotic compositions. In this Insider Interview, we spoke with Ms. Zabelka about her early musical influences, approach to improvisation and collaboration, and so much more.  More info online at acfny.org.

Classical Music Communications - You started your training of the violin in a very traditional sense. What are your earliest memories of breaking away from the classical tradition?

Mia Zabelka - In addition to my classical violin training I started to play in a jazz rock band at the age of 14. At that time there was a very lively jazz scene in the Vienna Underground. For example, Joe Zawinul came out of it. It brought me more recognition and social integration from my school friends than classical music.

I was also interested in electronic music/ sound art from a very early age. This was at a time before the computer was generally available and we drew enormous loops and lengths of audiotape through the sound studio instead. Work at the mixing console was also incredibly important, since it was here that we could still maintain the “haptic” aspect through the physical contact we had in handling the sound and tonal events we produced. I experimented with the sounds of my own pulse and breath and improvised with them at live concerts on the violin and with my voice.

CMC - You’ve described your compositions as “noise & sound art,” in addition to calling yourself a “sound artist.” What is sound art?

MZ - Sound art is an artistic discipline in which sound is utilized as a primary medium. Sound art may be interdisciplinary in nature, or be used in hybrid forms. Sound art can be considered as being an element of many areas such as acoustics, psychoacoustics, electronics, noise music, audio media, found or environmental sound, soundscapes, explorations of the human body, sculpture, architecture, film or video and other aspects of the current discourse of contemporary art. Noise music is a category of music that is characterized by the expressive use of noise within a musical context. Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect.

CMC - For your upcoming show at the ACF, you’ll be performing with video artist Katherine Liberovskaya. What is your process for composing sound art with visual art in collaboration such as this one? 

MZ - The interdisciplinary interaction of Sound, Art, and Video is the primary aspect of this cooperation. Since my first release SOMATEME I have continuously explored sound and music as physical phenomena, always pushing back the boundaries in experimental performances and compositions that question established notions, improving the available techniques and given structures. 

I transform movement into a language of musical signs. The gestures/phrasing which are intrinsically ever-present when playing the instrument are then inflated, exaggerated, transformed, de-constructed etc. and I succeed in finding new musical formulations through this, reaching beyond most stereotypes and clichés, and which are thus characteristic for my special musical language.

I play both acoustic and electric violin and various electronic devices today. An issue of great importance to me with these instruments is having direct access to the sound material with the effect pedals, which I can operate manually. The electronic sound is devised physically through “haptic” playing. Using this set up I am given the opportunity to expand the sound range so extensively that the violin itself becomes an interface and/or an electronic sound generator/sound machine. I use the electronic sound as it were to dress up or mask the natural acoustic sound of the instrument.

CMC - Improvisation seems to be a very important part of your style. In a concert like the upcoming one at the ACF, how much of this music is set (written out, or otherwise set in stone), and how much is improvised? Do you leave certain sections open for improvisation, or is there always room for it?

MZ - In my solo work, I basically act more as a composer than as an improvisational musician. These are electroacoustic compositions, but in the live context they also repeatedly include improvisatory parts. I create a composed framework that is open to improvisational aspects. I describe my form of musical improvisation as “automatic playing”. What I mean by this is not only a computer-like mechanical playing style, but rather the ability to achieve the production of a flow of sound similar to that in speech, filled with musical ideas and deep inner emotion both in my music and myself.

CMC - In this project, the dialogue is created through surveillance technology.  What exactly is surveillance technology, and how do you use it?

MZ - In my cooperation with Katherine Liberovskaya we use a small camera attached to my right wrist, making visible in real time the genesis of the music / the sound. Katherine uses another camera and special software to generate feedback loops from these shots. Thus, the process of creating music is spontaneously transformed into visuals.

CMC - Is there a social commentary attached to this project?

MZ - I think experimental music and improvisation always involve a social commentary.

CMC - What do you hope audiences will take away from this performance?

MZ - In my music, I am always trying to tell stories.  I hope that people are getting touched by this sonic story telling. I would like to encourage the listeners to listen intensively, to actively participate in the process of creating the music and the visuals, to get involved in an audiovisual adventure together with us.

Victoria Bond's Clara Schumann opera at Berlin Phil. Easter Festival

The Easter Festival of the Baden-Baden Festival Hall and the Berlin Philharmonic presents the world premiere of Victoria Bond's opera Clara in April 2019. Composed by Ms. Bond during her residencies at the Brahms House in Baden-Baden, Clara weaves the intertwining lives of Clara Wieck, Robert Schumann and Johannes Brahms into a dramatic mixture of music and passion.

"Clara Schumann was a 19th century “Wonder Woman” who shattered the glass ceiling of her day. She has long been an inspiration to me," said Bond. "I am thrilled that Clara will be premiered in Baden-Baden, a place that figured so prominently in her life." 

The fully staged production with orchestra is produced by the Festival Hall Baden-Baden and conducted by Berlin Philharmonic member Michael Hasel.

The performances are on April 14, 17, and 21, 2019 at the Theatre Baden-Baden, coinciding with the 200th anniversary of the year of Clara Schumann's birth. An additional eight performances of the work scored for chamber ensemble will be performed in May and June 2019 at the Theatre Baden-Baden and conducted by Clemens Jüngling. More information is at this link.

Also by Victoria Bond

Mrs. President, an opera about the first woman to run for president of the United States....in 1872

The Adventures of Gulliver, with libretto by Stephen Greco and design and direction by Doug Fitch

A major force in 21st century music, composer Victoria Bond is known for her melodic gift and dramatic flair. Her works for orchestra, chamber ensemble and opera have been lauded by The New York Times as "powerful, stylistically varied and technically demanding."

Victoria Bond's most recent CD, "Soul of a Nation: Portraits of Presidential Character", features soloists from the Chicago and Milwaukee Symphony Orchestras. Released on Albany Records in 2018, each of the four works include narration taken from the presidents' own words. 

In addition to Clara and Mrs. President, highlights of Ms. Bond's catalogue include the operaThe Miracle of Light; ballets Equinox and Other Selves; orchestral works Thinking like a MountainBridges and Urban Bird; and chamber works Dreams of FlyingFrescoes and Ashand Instruments of Revelation, among many others. Her compositions have been performed by the New York City Opera, Shanghai, Dallas and Houston Symphonies, members of the Chicago Symphony and New York Philharmonic, American Ballet Theater and the Cassatt and Audubon Quartets.

The New York Times praised Victoria Bond's conducting as "full of energy and fervor." She has served as principal guest conductor of Chamber Opera Chicago since 2005. Prior positions include Assistant Conductor of Pittsburgh Symphony and New York City Opera and Music Director of the Roanoke Symphony and Opera, Bel Canto Opera and Harrisburg Opera. Ms. Bond has guest conducted throughout the United States, Europe, South America and Asia. She is the first woman awarded a doctorate in orchestral conducting from the Juilliard School.

Ms. Bond is Artistic Director of Cutting Edge Concerts New Music Festival in New York, which she founded in 1998, and is a frequent lecturer at the Metropolitan Opera and has lectured for the New York Philharmonic. The Wall Street Journal, NBC's Today ShowThe New York Times and other national publications have profiled Ms. Bond. For more information aboutVictoria Bond and her upcoming projects, visit VictoriaBond.com.

April 6: Mark Dover and Jeremy Jordan at National Sawdust

The duo Port Mande – clarinetist Mark Dover and pianist Jeremy Jordan - performs at National Sawdust on Saturday, April 6 at 7 pm. The program features music composed by each of the members of the duo in a range of styles. Mark Dover said, “Our original music runs the gamut from jazz, electronic, hip hop, and neosoul, to definite but veiled touches of contemporary classical.”

Also featured are concert works, including Dover’s arrangement of Schumann’s Dichterliebe as well as a 2017 piece for clarinet and piano by Jonathan Ragonese, commissioned by Dover. Complete program details are below.

Port Mande will perform music with and by guest artists, including soprano Faylotte Crayton and rapper POES. “The evening will have a variety show vibe,” said Dover, “as we announce music from the stage and call up guests to join us.”

Tickets are $25 for general admission and are available at nationalsawdust.org. National Sawdust is located at 80 North 6th Street in Brooklyn.

CALENDAR LISTING

April 6, 2019 at 7:00 pm
Chris Grymes Open G Series at National Sawdust:
Port Mande - Mark Dover and Jeremy Jordan

Program
Selections from the following:
This Is Loss (Mark Dover) 
I Am, Here Now (Dover) 
Lulu’s Dream (Jeremy Jordan)
Soon After (Jordan) 
Lead So I Can Follow (Dover) 
Hip Hop set with rapper POES
Song Without Words #2 (Dover) 
Non Poem 4 (Jonathan Ragonese) 
Dichterliebe No. 1 (Schumann arr. Dover) feat Lotte Crayton 
Fish Me A Dream (Jordan) 
Vocalise (Dover) featuring Faylotte Crayton
Let Us Break Bread Together (Traditional) 
Trust Us (Jordan)
Sipping on Schewitz (Dover) 

National Sawdust
80 North 6th St in Brooklyn
Tickets are $25 for general admission, and are available at nationalsawdust.org

Port Mande (formerly Duo Process), is the collaborative partnership between clarinetist Mark Dover of Imani Winds and pianist/producer Jeremy Jordan. The name Port Mande is a play on the linguistic term “portmanteau” – a word blending the sounds and combining the meanings of two others, like the word smog (itself a blend of “smoke” and “fog”). Much like a portmanteau, Dover and Jordan’s artistic partnership is a blend of all of their vast musical influences – both having worked prolifically in classical, jazz, hip hop, gospel, pop, and world music scenes. Port Mande’s mission is to bring all cultures of people together by embracing music of every genre.

Praised by Opera News for his “exemplary clarinet playing,” Mark Dover’s vast array of musical experiences have helped him establish himself as one of the most diverse clarinetists of his generation. In January of 2016, Dover joined Grammy-nominated wind quintet, Imani Winds

A member of the Young Steinway Artists roster and critically acclaimed, “a clear technical virtuoso”, “a rare talent”; “a true Wunderkind”, pianist and native Chicagoan Jeremy Jordan has performed solo and chamber concerts throughout Europe and America including Carnegie Hall, the Concertgebouw in Amsterdam, Rudolfinum in Prague, Chicago’s Orchestra Hall and the Ravinia Festival.

Insider Interview: Mark Dover, clarinetist

Insider Interview: Mark Dover, clarinetist
February 12, 2019

On Saturday, April 6, 2019 at 7:00 pm, Chris Grymes’ Open G Series at National Sawdust (80 North 6th St., Brooklyn) presents Port Mande, the clarinet and piano duo consisting of Mark Dover and Jeremy Jordan. In this Insider Interview, we spoke with clarinetist Mark Dover about the upcoming program.  More info online at nationalsawdust.org.

 

Classical Music Communications: How was Port Mande formed?

Mark Dover: Jeremy Jordan and I have been close friends and collaborators since 2013.  Even though a lot of our projects and concerts involve more than just the two of us, we’ve always felt that our work as a duo is the real foundation of all of our music. Coming primarily from the classical world we wanted to think of a way to take the simple idea of a clarinet and piano duo and expand the olive branch as far as we could.  

CMC: Both you and Jeremy seem to have very deep backgrounds in classical music. How does that inform your performances of the non-classical pieces?

MD: It really works both ways.  For me personally I almost feel like my background in jazz and improvised music informs my classical music performances almost as much or even more.  There’s a sense of once you know learn something musically and really know it, you can’t unknow it, and you can’t really set it aside, it will always be a part of you.  In terms of my classical roots informing everything else, my sense of time is definitely apparent.  In chamber music we are taught the art of rubato, of moving between the notes and the barlines, and I think my original music has a deep sense of that.  And then definitely aspects of 19th and 20th century European harmony are very present in my music and arrangements. Then again that’s present in probably all music these days!

CMC: Looking at the program, it’s clear your musical interests spread far. How do you keep these pieces connected together in a program like this? Is there a common theme?

MD: I think the theme is always playing music that speaks to us.  There’s not necessarily anything deeper to it than that in this program. Although one thing we try to relay to all our audiences is that this music is actually more similar than it is different.  It’s all really connected through the lineage of our musical ancestors.

CMC: Tell me about your collaborators for this program, POES and Faylotte Crayton. Have you worked with them before? Do they share your diverse taste in music? What will they bring to the program?

MD: Well Faylotte Crayton is my wife, so there’s that! She’s an incredible soprano, went to Juilliard and then Bard for her masters where she studied at Dawn Upshaw’s Vocal Arts Program. She has a sound that really just gets right to your gut, full of raw emotion. I say that totally objectively! And POES is an amazing rapper from Washington Heights  that Jeremy and I met a few years back.  He’s a real poet, and raps about justice and equality, and about  his identity as a Dominican family man trying to make it in a very competitive scene. He has a flow that is just so smooth, and even though he doesn’t play an instrument or read music you can just hear his musicianship in his phrasing.  Both of them definitely share our taste in music, but they primarily work in their own genres of opera/art song and hip hop. Which is beautiful for us because we get to insert them into our crazy world and the results are really exciting.

CMC: How do you find time to compose (in addition to a busy career with Imani Winds and as a clarinet soloist)?

MD: I’m always trying to be near a keyboard. I always compose from the piano.  Even on the road I’ll drive the Imanis crazy with my backstage noodling.  It’s cathartic to me to write music, so it really doesn’t feel like work.  Especially since I’m usually drowning in a sea of chamber music pieces that need to be learned in a very short amount of time. 

CMC: Do you have any favorites amongst your own compositions audiences will hear at the April 6 concert?

MD: I wrote a song entitled This is Loss that was written during a very difficult time in my life.  It was only performed once before, so I’m really looking forward to digging into that.

CMC: What do you hope audiences will get out of coming to this concert?

MD: I hope audiences will leave feeling drunk with new sounds!  And I hope they feel like if nothing else, they’ve had a musical experience that was very different from the concerts they’ve attended in the past.  That’s all we could ever hope for!

April 7: Composer Portrait Jeremy Gill at National Sawdust

Program features world premiere for violin duo in reaction to The Last Tango in Paris, and New York premiere of settings of Walt Whitman's poetry

"The execution is fresh and clever….a compositional tour-de-force that shows Gill’s versatility and attention to detail." – The American Record Guide

On Sunday, April 7 at 7:00 pm, at National Sawdust, composer Jeremy Gill showcases his compositions inspired by the words of Whitman, the philosophy of Pascal, and the film The Last Tango in Paris. A fresh face in NYC, this concert marks the first program consisting entirely of Gill's music since his move to the Big Apple last year. Jeremy Gill's composer portrait concert is presented by Chris Grymes' Open G performance series at National Sawdust.

Described as “vividly colored” (The New York Times) and “exhilarating” (The Philadelphia Inquirer), Jeremy Gill's music has been championed by renowned musicians worldwide. Recent highlights include the premiere of his oboe concerto by the Dallas Symphony Orchestra conducted by Jaap van Zweden; the Grammy-winning Parker Quartet's Innova Recordings release of Gill's epic hour-long string quartet Capriccio, and the premiere of Gill's four-hand piano concerto performed by Shai Wosner and Orion Weiss with the Chautauqua Symphony conducted by JoAnn Falletta, with a subsequent performance by the Buffalo Philharmonic Orchestra. Read more details about Jeremy Gill's busy Spring 2019.

The program for this portrait concert features works all written in the last five years. Violinists Mandy Wolman and Beverly Shin perform the world premiere of Lascia fare mi. Translated as "leave me alone", Lascia fare mi is a fantasy for two violins that plays in nine uninterrupted “scenes,” inspired by the scenes from Last Tango in Paris in which the characters of Jean and Paul appear alone. These scenes reveal their evolving relationship, and as they inevitably come to know one another more conventionally, their interactions grow increasingly more passionate and more violently antagonistic.

Celebrating the bicentennial of Walt Whitman's birth, the Whitman Portraitwill be performed by the six singers for whom it was written, including Kristin Sampson and Rachel Calloway (complete details below). A collection of six songs, this will be the NYC premiere of the Whitman Portrait performed in its entirety.

Also a NYC premiere, the Duo for violin and piano was commissioned for the 35th anniversary of Market Square Concerts, and performed here by Duo Prism. Rounding out the program, Six Pensées de Pascal is Gill's setting of text by the 17th century French mathematician Blaise Pascal. This work was written for the Philadelphia vocal ensemble Variant 6, who will be performing on this concert.

Tickets are $29 for general admission and are available at nationalsawdust.org. National Sawdust is located at 80 North 6th Street in Brooklyn.

CALENDAR LISTING

April 7, 2019 at 7:00 pm

Chris Grymes Open G Series at National Sawdust:

Jeremy Gill, Composer Portrait

Program:

Whitman Portrait (2014) (New York premiere)

Performers: sopranos Deborah Lifton and Kristin Sampson, mezzo-soprano Rachel Calloway, tenor Dominic Armstrong, baritone Jorell Williams, bass-baritone Matthew Burns, and pianist Jeremy Gill

Duo for Violin and Piano (2015) (New York premiere)

Performers: Duo Prism (Jesse Mills, violin and Rieko Aizawa, piano)

Six Pensées de Pascal (2017)

Performers: Variant 6

Lascia fare mi (2018) (world premiere)

Performers: Violinists Mandy Wolman and Beverly Shin

National Sawdust

80 North 6th St in Brooklyn

Tickets are $29 for general admission, and are available at nationalsawdust.org

Baruch Performing Arts Center: NYC premiere of Gregory Spears' "Walden"

March 13: Baritone Brian Mulligan and pianist Timothy Long perform the New York premiere of Gregory Spears' Walden

Program also includes Dominick Argento's Pulitizer Prize winning From the Diary of Virginia Woolf

“a voice that is rich, secure, and really, really big” –The New York Times

On Wednesday, March 13 at 7:30 pm, straight from its world premiere at the Kennedy Center in Washington, D.C., the Baruch Performing Arts Center presents Brian Mulligan and Timothy Long performing the NYC premiere of Gregory Spears' song cycle Walden. The program also includes Dominick Argento's From the Diary of Virginia Woolf, winner of the 1975 Pulitzer Prize for Music.

Tickets are $36 for general admission ($16 for students) and are available at www.baruch.cuny.edu/bpac. Baruch Performing Arts Center is at 55 Lexington Avenue (enter on 25th Street between Third and Lexington Avenues), in Manhattan.

Gregory Spears' opera Fellow Travelers was a sensation at the 2018 Prototype Festival. His latest work, Walden, composed for Brian Mulligan was heralded as "a gripping performance" (The Washington Post) at its world premiere in the Fall. With texts drawn from Henry David Thoreau's classic 1854 book, Walden "speaks with a naked intimacy that’s almost painful" (The Washington Post). The cycle is paired with Dominick Argento's From the Diary of Virginia Woolf, written for Janet Baker in 1974.

Praised for his "velvety, evenly and effortlessly produced baritone and nuance-rich phrasing" (Opera News), Brian Mulligan frequently appears with the world’s leading orchestras and opera companies including the Metropolitan, San Francisco, and Houston Grand Operas. He is joined by pianist Timothy Long, whose "collaboration at the piano [with Mulligan] was so sympathetically symbiotic that it seemed...that a single musical intelligence was at work (The Washington Post)."

CALENDAR LISTING

March 13, 2019 at 7:30 pm

Baruch Performing Arts Center presents:

Brian Mulligan (baritone) & Timothy Long (piano)

Program:

Gregory Spears: Walden *NYC premiere*

Dominick Argento: From the Diary of Virginia Woolf

Baruch Performing Arts Center

55 Lexington Avenue in Manhattan

(enter at 25th Street between 3rd and Lexington Avenues) 

Tickets are $51 for premium seating, $36 for general admission, and $16 for students, and are available at www.baruch.cuny.edu/bpac

Cutting Edge Concerts: February 11, 18, 25

Cutting Edge Concerts New Music Festival 

Victoria Bond, Artistic Director

Cutting Edge Concerts' 22nd season features music by Philip Glass, Paul Chihara, Hannah Lash, Amy Beth Kirsten, Victoria Bond and more

February 11, 18, & 25, 2019 at Symphony Space's Leonard Nimoy Thalia in New York City

"...a gift to New Yorkers thirsty for new sounds" - Time Out New York

Victoria Bond's Cutting Edge Concerts New Music Festival celebrates its 22nd Season with three programs in February 2019 at Symphony Space.

Inspired by Pierre Boulez's series, "Perspective Encounters", the composer and conductor Victoria Bond founded Cutting Edge Concerts in 1998. With more than two decades of concerts, Cutting Edge Concerts has presented over 300 new works by nearly 200 composers. Each program highlights the music of living composers, all of whom attend the concert. Along with performances by world-class ensembles and soloists, each program features on-stage discussions between host Victoria Bond and the composers. CEC has been called "a full-throttle commitment to contemporary music" by Chamber Music America.

February 11, 7:30 pm | Cutting Edge Concerts: Dream Forms

New York-based di.vi.sion piano trio (Kurt Briggs, violin; Matt Goeke, cello; Renee Cometa Briggs, piano) performs Steven Burke's Dream Forms (composed for the di.vi.sion trio), inspired by clairvoyant, lucid and epic dreams. Additional works include Victoria Bond's Other Selves, commissioned by the Jacob's Pillow Dance Festival as a ballet based on sculptures by Marjorie Michael; and "Piano Trio No. 2" by Jim Lahti.

February 18, 7:30 pm | Cutting Edge Concerts: New Visions of Cherished Classics

Acclaimed Philip Glass interpreter, pianist Paul Barnes joins forces with Scott Hosfeld (viola), Maria Newman (violin), and Laura Hamilton (violin) for Glass's Byzantine chant-inspired work Annunciation Quintet. The first half also includes the NYC premiere Victoria Bond's Simeron Kremate as well as Maria Newman’s Pennipotenti.

The evening also features a workshop performance of The Adventures of Gulliver, a new opera based on the classic Jonathan Swift tale, with music by Victoria Bond, libretto by Stephen Greco and design and direction by Doug Fitch. The cast includes:

Daniel Klein, baritone; Ariadne Graf, soprano; Sean Christensen, tenor; Yoojin Lee, mezzo-soprano; David Charles Tay, tenor; Jonathan Hare, baritone; and Mark Peloquin, piano.

February 25, 7:30 pm | Cutting Edge Concerts: The Poetry of Places

The Horszowski Trio (Jesse Mills, violin; Paul Wiancko, cello; Rieko Aizawa, piano) is joined by clarinetist Alan Kay, flutist Elizabeth Mann, and soprano Sophia Maekawa for a performance of Paul Chihara's Amatsu Kaze ("heavenly wind"). The work is based on seven Haiku, and Chihara's songs are happy, sad, sexy, witty, and always very lonely.

The evening also features pianist Nadia Shpachenko performing selections from her recently released CD, “The Poetry of Places” - works composed for her by Lewis Spratlan, Harold Meltzer, Hannah Lash, Amy Beth Kirsten, Jack Van Zandt, Victoria Bond, and James Matheson.

Cutting Edge Concerts New Music Festival concerts are on Mondays, February 11, 18, and 25, 2019 at 7:30 pm at Leonard Nimoy Thalia at Peter Norton Symphony Space (2537 Broadway at 95th Street in Manhattan). Tickets are $20 in advance ($30 day of show) and are available online.

Feb 23: Defiant Requiem performance at IUP

Defiant Requiem: Verdi at Terezín

Saturday, February 23

at Fisher Auditorium, Indiana PA

Complete live performance of Verdi's Requiem as performed in the Terezín Concentration Camp, interspersed with historic film, testimony from survivors and narration tells the moving story of courageous performances by the prisoners of a WWII concentration camp

Praised by The New York Times as "Poignant...a monument to the courage of one man to foster hope among prisoners with little other solace," Defiant Requiem: Verdi at Terezín will be performed on February 23, 2019 at 7:30 pm at Fisher Auditorium(403 S. 11th Street) in Indiana, PA. 

The "extraordinarily beautiful and moving" concert/drama commemorates the courageous Jewish prisoners in the Theresienstadt Concentration Camp during World War II who performed Verdi's Requiem 16 times, as an act of defiance and resistance to their Nazi captors. Defiant Requiem is a complete live performance of Verdi's Requiem interspersed with historic film, testimony from survivors and narration that tells this tale of audacious bravery. This performance features the full Verdi Requiem with the chorus and soloists accompanied by a single piano, as it was in Terezín.

Defiant Requiem: Verdi at Terezín features pianist Arlene Shrut with Colleen Ferguson on violin, the IUP Chorale and Penn State Altoona Ivyside Pride Vocal Ensemble, as well as soprano Annie Gill, mezzo-soprano Bonnie Cutsforth-Huber, tenor Tim Augustin, and bass Joseph Baunoch and actors Richard Kemp and Michael Schwartz. It will be conducted by Maestro Murry Sidlin, president of The Defiant Requiem Foundation and creator of this powerful concert/drama.

This performance of Defiant Requiem is presented by The Defiant Requiem Foundation, Indiana University of Pennsylvania Department of Music, and the Penn State Altoona Department of Arts and Humanities, with funding from the Gretchen M. Brooks University Residency Project.

Tickets for Defiant Requiem: Verdi at Terezín are $10 general admission, $8 for seniors and $6 for students, anyone with a Military ID, and children under 18. Tickets are available online or in person at the The Lively Arts Ticket Office (in the lobby of the IUP Performing Arts Center, 403 S. 11th Street, Indiana, PA). 

Murry Sidlin and The Defiant Requiem Foundation also produced an Emmy-nominated documentary film narrated by Bebe Neuwirth that has been praised as a "gripping documentary" (Examiner.com), with "a very powerful message" (CNN). More information is at DefiantRequiem.org.

Sax and harp duo releases debut album on Albany

Sax and harp duo releases debut album on Albany

Saxophonist Jonathan Hulting-Cohen and harpist Jennifer R. Ellis release their debut recording December 1.

Insider Interview with Tom Cipullo, composer

Insider Interview with Tom Cipullo, composer

On Saturday, December 1 at 7:00 pm, Chelsea Opera presents the New York City premieres of two one-act operas Josephine and After Life at Christ & St. Stephen’s Church (120 W 69th St.). More info online at www.chelseaopera.org/season. In this Insider Interview, we spoke with the composer of these new works, Tom Cipullo, about the upcoming premieres.

Chelsea Opera presents the New York City premieres of "Josephine" and "After Life"

Chelsea Opera presents the New York City premieres of "Josephine" and "After Life"

On Saturday, December 1 at 7:00 pm, Chelsea Opera presents the New York City premieres of Josephine and After Life, two one-act operas by Tom Cipullo.

2018/19 Season at Baruch Performing Arts Center in NYC

2018/19 Season at Baruch Performing Arts Center in NYC

Baruch Performing Arts Center announces its 2018-2019 season of opera, chamber music and jazz performances in the heart of Manhattan.

Fall 2018 at the Austrian Cultural Forum New York

Fall 2018 at the Austrian Cultural Forum New York

October 1-4: Moving Sounds Festival 2018 - The Mahler Question
November 29-30: Ensemble Signal and Wolfgang Mitterer

October 13-19: Announcing the 2018 Momenta Festival

October 13-19: Announcing the 2018 Momenta Festival

October 13-19: Announcing the 2018 Momenta Festival

Baby Got Bach engages executive consulting services

Baby Got Bach engages executive consulting services

Baby Got Bach Artistic Director Orli Shaham and Executive Director Gail Wein are pleased to announce the engagement of Gene Sobczak and PROTEA Success Navigation in the advancement and continuing development of the organization.

Victoria Bond releases new CD on Albany Records

Victoria Bond releases new CD on Albany Records

Soul of a Nation: Portraits of Presidential Character

Joel Quarrington in recital

Joel Quarrington in recital

Free recital features works by Bach, Schumann, Schubert, and Erich Korngold.

April 18 at Baruch Performing Arts Center: Pianist-Composer Michael Brown celebrates Leonard Bernstein at 100

April 18 at Baruch Performing Arts Center: Pianist-Composer Michael Brown celebrates Leonard Bernstein at 100

One composer-performer celebrates another

Violinist Tessa Lark is awarded Borletti-Buitoni Trust Fellowship

Violinist Tessa Lark is awarded Borletti-Buitoni Trust Fellowship

The Borletti-Buitoni Trust announced today that violinist Tessa Lark is a recipient of the coveted Borletti-Buitoni 2018 Fellowship. The BBT Fellowship puts Ms. Lark in the elite company of prior BBT recipients including Jonathan Biss, Martin Fröst, Sol Gabetta and Augustin Hadelich. 

Christopher Houlihan interview with Ross Amico of WWFM

Christopher Houlihan interview with Ross Amico of WWFM

Christopher Houlihan spoke with Ross Amico of WWFM in advance of Sunday’s recital.