On one hand, it's a good thing I've been too busy to really update here for a while, but on the other hand - self promotion is part of the gig, so...apologies.
There is no "normal" to go back to in this post-2020 reality, of course - but the return to a busier performing schedule has felt like a thirsty person trying to drink from a fire hose at times. This season has felt like a fruitful one - bookended by album releases (Blaise Ubaldini's sunbathing back in October, and Roger Reynolds' For a Reason to be released later this week!)
This season has involved more solo work than I've executed in a while - both with instrumental ensembles and all on my lonesome. In addition to premiering Wombat Songs on a self-accompanied concert last fall and premiering a massive voice/tape piece by Élise Roy, I shared one of my own compositions (Lullaby for Milton, voice/looper) for the first time this season on solo voice/EA focused concerts in Winona and Chicago this spring. I am enjoying these directions - I will be touring an electroacoustic voice/piano program next season, as well as working more in improvisatory contexts...
I also enjoyed new and continued projects with Damselfly and Quince - in particular, both ensembles' work with Ricardo Zohn-Muldoon. Damselfly performed and recorded his gorgeous Comala Transcriptions in February at Eastman, and Quince had the immense joy of premiering his Destierros at the Teatro Degollado in Guadalajara in May.
Staying in Mexico for more of May (celebrating a milestone birthday while in CDMX), I had the thrill of performing the first of what I hope is many Ligeti Aventures/Nouvelles Aventures with the incredible Cepromusic Ensemble (live performance link here!)
To finish this season, I spent time singing backup to Kamratōn Ensemble's banging performances of music by (and curated by) Brittany J. Green in Pittsburgh and NYC - including my first Stay On It as a clarinetist. (live performance link here!)
Otherwise, I look forward to ending my June with Quince, recording a few more pieces to round out our long-term Dust Bowl album project, and preparing for the inaugural Quincetitute in July, our first major summer educational initiative!!!
I -do- have some summer vacation plans out on the pond, though...
It's been a bit of a relentless summer so far - after the Babbitt concert with Augustus Arnone (lovingly posted as a YouTube playlist!), the premiere of The Strange Child by Julia Werntz in Pittsburgh, recording Roger Reynolds' Sketchbook for The Unbearable Lightness of Being (my first professional music video!) and a re-energizing week of electroacoustic mayhem at SPLICE Festival in Kalamazoo, I am finally HOME for a bit.
This week, I'm working on my Levels I-III certifications in Somatic VoiceWork, a method of vocal training and pedagogy that is expansive in breadth and generous in spirit. . .I cannot wait to apply what I'm learning in lessons! It feels like I'm braiding together several threads of knowledge from my previous coursework in voice science, as well as the training I had in music education, many years ago. . .
Next up: Omaha Under the Radar with my dear Damselfly Trio flutist, Frau Chelsea Czuchra. . . singing music by Ursula Mamlok, Rebecca Saunders, Brittany Green, and Marti Epstein!
Sunday, May 29 - 4p