Huelskamp's Music now on YouTube

This week, I started migrating all the recordings of my music to YouTube. It's a great way to share music, and I love how I can create one big playlist of all my pieces. It also makes it incredibly easy to share the files on my website and throughout social media.

It will take me some time to upload all the videos/audio files to my list on YouTube, so check back there often. Here's the link to access the playlist:

https://www.youtube.com/playlist?list=PLlPLB_BrM-rl9lJLB6TQFYjyXUc2vHcAo

Under 1/4 - still a starving artist

It's been a while since I have written a post that focuses on the more personal side of my life. Many of my colleagues know that I have slowed my music production for the past three years for a couple of reasons: (1) I recently had twins, and they are a lot of work. And (2) we are trying to pay off all our debt (read student loans, because that's all the debt we have). We would like to be a debt-free family.

Why? In essence, if I had no debt, I could live on an artist's take-home salary. I wouldn't have to take on a "day job" to pay for my expenses and then hope to have time to complete my compositions and productions on the side (an impossible concept now that I have twins). I would have the ability to choose to do whatever I want with my time.

I will admit that the past three years have been a little rough, and it requires sacrifice to achieve this goal. To that end, we cut back on all our "extracurricular" spending: eating out, vacations, and all the fun (read expensive) perks of life. It has been tough, but I have to remember that this debt paid for my past, awesome adventures...expensive private conservatory, Paris, living in Boston, music programs over several summers, and more. I don't regret my choices, but I do regret the debt.

And, the plan is working, and I know the lifestyle restrictions are merely temporary. We now have less than 1/4 of our original debt remaining, and we are well on our way of being out of debt. That is super exciting! The closer we get to paying off the debt entirely, the more focused I am about not spending money on lifestyle enhancements. I want all those extra dollars to pay off this debt, so my family can be free!

Then what??? Well...first I'm taking a vacation. After that, I am going to pursue my dreams, and I am going to do so without the limitations of debt. In the meantime...I am still a self-appointed starving artist.

Tampa Bay Flute Choir Concert upcoming on May 22 at 3pm

The Tampa Bay Flute Choir will be performing my arrangement of Armed Forces Salute in about a month.

Their concert takes place at the Allendale United Methodist Church of St. Petersburg on Sunday May 22, 2016 at 3pm. Reception with tasty food to follow the concert. From what I understand, admission is free too!

Here's the full concert program:

The Mayflower Suite, by Catherine McMichael
Cross the Wide Missouri, by Kelly Via
The Appalachian Suite, by Kelly Via
Civil War Suite, arranged by Nancy W. Wood
Armed Forces Salute, arranged by Erin Huelskamp
America The Beautiful, arranged by Kelly Via

10 Block Walk Scene 7 Complete

Yesterday, I sent a fresh copy of Scene 7 from my second opera The Ten-Block Walk over to the librettist, Christie Lee Gibson. This is the fun part of the process. I like sharing the new scenes with Christie and hearing her feedback. There are always bits to change and improve, and, this time, I am especially eager to have a singer and pianist take a look at it.

I wrote the movement in a sort of short score fully understanding that no single pianist in the world could play all the parts. After reducing the score down for piano and voice, I am interested to see the elements that come through in the reduction. More on that soon...

In this scene, the Old Woman walks by a graveyard, and she ponders her remaining time on earth. It's a little dark but also uplifting, and I think the music reflects those emotions.

Here's a small sample:

Juventas 10 Years Celebration Video

Check it out. I made a video with a slide show celebrating Juventas and their success in making it as a professional ensemble for 10 years! Comment if you like it. Thanks!

Ten-Block Walk opens tonight (6/21) and in the Boston Globe

Tonight's the night! The Ten-Block Walk opens with Facing Down Death, a collaboration between OperaHub and the Fort Point Theatre Channel. AND there's an article in the Boston Globe highlighting the event. Here's an excerpt:

Those with even a cursory knowledge of operas know that death looms large in many of them. Yet an upcoming program by the innovative company OperaHub called “Facing Down Death” offers a pairing of works that tackle the subject in unusual ways. 

First up are excerpts from “The Ten-Block Walk,” a work in progress by local composer Erin Huelskamp and librettist Christie Lee Gibson, OperaHub’s current director. The opera follows an elderly woman, Mrs. Otis, on a walk from her home to a local senior center. Her encounters along the way — with panhandlers, students, a Dunkin’ Donuts worker — bring out her anxieties, about other people, about aging, about death. The second half of the bill is Erik Satie’s “Socrate,” which tells the story of the death of Socrates with music of astonishing placidity. Both works will be done with piano accompaniment.

Read the article here. Don't forget to reserve your tickets too. From what I hear, Friday and Sunday have already sold out! 

June 21-23, 2013, 8:00 pm
Fort Point Theatre Channel
10 Channel Center Street
Boston

FREE ADMISSION!

Reserve tickets here

Review #2: “The Magic Mirror”: Window Into Another World

The Magic Mirror review #2. Here's some quotes:

The Magic Mirror succeeds, most of all, in elegance. Characters move through a sumptuous world, wandering along whirls of purple and blue on the floor, moving through dark woods and bright cottages.

Also:

Still, it’s a beautiful show. The contemporary instrumentals...define a world of sharp edges and deadly consequences. The Magic Mirror unfolds like an eerie dream...always mesmerizing for the audience.

Read the full review here:

“The Magic Mirror”: Window Into Another World

Review #1 - Magic Mirror: A Russian Sleeping Beauty Awakens

Quotes from our first review:

There is a psychologically complex horror at work here, and its unfolding is the most dramatically satisfying element of the opera. Karapetian’s Queen is full of dignity and pathos, while Weiman’s Evil Queen is terrifying, simultaneously repugnant and compelling. Red-haired, dressed in black dress and with black nail-polish, Weiman’s powerful voice, devouring smile and dramatic fearlessness fill the small space with dread and threat.

Also:

At its best, The Magic Mirror has moments where musical language and dramatic action come together thrillingly: at the decidedly un-Tristanesque potion-drinking by the King; at the Princess’s apparent death; at moments of transition in the engagement celebration...If The Magic Mirror is not quite a major re-interpretation of a popular fable, it is nevertheless an appealing, accessible and occasionally brilliant early work that should be of interest to audiences seeking new takes on traditional opera.

Read the full review here:

A Russian Sleeping Beauty Awakens

Magic Mirror in the news and pics

Here's a couple pics, comments and articles about The Magic Mirror production this weekend May 30-June 1.

Here is what Steven Lipsitt, the conductor of the Boston Classical Orchestra said about The Magic Mirror:

If you enjoy the operas of Tchaikovsky & Mussorgsky, go see "Magic Mirror" at Boston Center for the Arts. A world premiere by the 26-year-old(!) Polina Nazaykinskaya, it's a grand opera packed into a 65-minute two-act piece in a 100-seat BlackBox theater. Expertly sung, played, & conducted --- a first-class enterprise. (And air-conditioned...) ;>)

hugecity.us named Magic Mirror as a "Top 10 Boston Pick" this week. AND, The New England Theatre Geek ran a nice promo post on the show.  Promo: The Magic Mirror. I hope you can make it.

Thursday, May 30th at 8 p.m.
Friday, May 31st at 8 p.m.
Saturday, June 1st at 3 p.m.
Saturday, June 1st at 8 p.m.
Tickets available here!

BCA Plaza Theatre
539 Tremont Street
Boston, MA

Tickets: $20/ $15
Box Office at 617-933-8600

Magic Mirror Rehearsal Preview and Synopsis

I am sitting in the rehearsal room at the Boston Center for the Arts as I type this entry. Don't worry! I'm not slacking. Lidiya Yankovskaya is working music for The Magic Mirror. In just a second we will launch into a dance call followed by our second full run. Tomorrow is the sitzprob and the beginning of tech week. If you are wondering what this process looks like, take a look at the video below.

My assistant director Joey Frangieh created a short video montage of our rehearsal process. It may not be the fanciest video that you've ever seen, but it shows an insider's perspective of life in the rehearsal room.

Before watching, take a look at the synopsis of the Snow White inspired show below. The story is similar to the one you know, but we've add a few twists. Let me know what you think of the differences in the comments.

Synopsis

Act 1
While attending her newborn baby, Queen Mother, lonely and weak, awaits her husband’s return. Suddenly, a mysterious evil woman sucks the life from Queen Mother and traps her soul into a magical mirror. Upon his return, the King discovers his wife’s body, and he falls into grief. Time passes yet the King languishes only for his wife. In his grief, he hears a beautiful voice. Confused, he believes he hears his wife, but the voice comes from the mysterious woman instead. She gives him a magical potion which forces him to forget his dead wife and, instead, fall madly in love with the new woman. The King marries the woman, creating the Evil Queen. The townspeople gossip about the Evil Queen and her mirror. Daily, the Evil Queen turns to the mirror for reassurance of her beauty and power. Time passes, and, to the Evil Queen’s dismay, the daughter of her husband grows fairer than she. Enraged, the Evil Queen demands the maid Chernyafka murder the Princess. Forced to follow the Evil Queen’s order, Chernyafka plays a game of “hide-and-seek” to lure the Princess away from her engagement party. In the woods, the Princess bargains with Chernyafka to spare her life. Chernyafka succumbs to the Princess’s pleas, cuts the Princess loose, and departs. Lost, the Princess runs deeper into the forest to escape her fate.

Act 2
In town, everyone is searching for the missing Princess. Meanwhile, the Princess, alone in the woods, stumbles upon a house. Unable to find anyone, she decides to clean the messy house and bake a pie in order to win the inhabitants’ favor. Suddenly, seven knights enter the house and the Princess hides only to reveal herself shortly thereafter. The men recognize her, fawn over her, and propose to her. She politely informs the men that she is engaged to her love the Prince Yelisey. Back in the castle the Evil Queen cheerily resumes her daily beauty ritual with her magic mirror. To her surprise the mirror reveals that the Princess is still alive. Infuriated the Evil Queen dresses as an old lady and seeks out the Princess. In the forest, the Evil Queen poisons the Princess with an apple. The knights discover the deceased Princess and place her body in a coffin. Elsewhere, Prince Yelisey continues his search for the Princess. He turns to the Sun, the Moon, and the Wind for aid. The Wind reveals that the Princess lies in a coffin. Devastated, Prince Yelisey bestows one last kiss on the Princess. Upon true love’s kiss, Yelisey restores the Princess’s life. The Evil Queen falls to her death from anger and the destruction of her mirror, and the village rejoices as the Prince and Princess get married.

Magic Mirror in the Newton Patch

Check out this article about my upcoming production The Magic Mirror. It features our King played by Andy Papas.  He sounds great in rehearsal. I hope you can all come see him and the rest of the cast next week, beginning May 30. Get your tix now!

Andy Papas, king in The Magic Mirror

The Magic Mirror

World premiere

Thursday, May 30th at 8 p.m.

Friday, May 31st at 8 p.m.

Saturday, June 1st at 3 p.m.

Saturday, June 1st at 8 p.m.

Purchase tickets

BCA Plaza Theatre

539 Tremont Street

Boston, MA

Der Zwerg Pics!

I finally have them!  Pictures from OperaHub's production of Zemlinsky's Der Zwerg...yeah, the one I stage directed!  Check them out and leave a comment if you like them.  If you missed the show, don't fret.  I *might* (it really depends on the quality of the video) schedule a viewing party with music director Julia Carey.  More to come...

Pics are by Marion Cohen. Enjoy!

(The three maids and Ghita admiring a gift for the Infanta)

(The Infanta's Entourage)

(Don Estoban prepares for the Infanta's birthday party)

(The Dwarf - both his imagined self [singer] and real self [dancer] - and the Infanta)

(The Dwarf sees himself in the mirror for the first time and discovers he is hideous)

(The Infanta calls him an animal and not a man)

(The Dwarf dies and only Ghita cares)

REBLOG: Analissa Martinez talks about my world premiere next week

Composer's Corner: •••••••••••••••• Erin Huelskamp: "

April 15, 2010 7:30pm

St. John's Episcopal Church

1 Roanoke Avenue

Jamaica Plains, MA

The Boston New Music Initiative presents

World Premiere of A Mind-dependent Phenomenon

for solo cello, by Erin Huelskamp

Analissa Martinez on cello

I chose this next work because it takes me out of my comfort spot behind the cello, and asks for an acted performance...but still behind the cello. It's subject matter is also very familiar territory, so an 'acted performance' is not so much necessary.

Erin calls for the intimate moments for a musician in a practice room. The phenomenon of Time passes, slowly or quickly. We procrastinate, play around, stomp, sing and show off.

I display the unpleasantries of time passing by while practicing...and I get to show off some cello rockstar moves interpolated with the ticking of time passing.

Thanks Erin!

About Erin:

Energetic, hardworking and enigmatic, Erin Huelskamp (b. 1982) composes dramatic and comical music that often reflects a philosophical twist on her daily experiences. Co-founder and executive director of the Juventas New Music Ensemble, Ms. Huelskamp voraciously promotes new music – especially by amazing unknown composers – and she strives to draw ever new audiences to the burgeoning sounds of the 21st century....

Trained as a classical dancer for 16 years, Ms. Huelskamp began composing at the age of ten with no musical training. In 2000 she began studies in composition and flute at the University of Missouri-Columbia where she earned a Bachelor of Music in both composition and flute performance; she studied composition with Thomas McKenney and Stefan Freund and flute with Steven Geibel. In 2007, Ms. Huelskamp completed a Master of Music in Composition from the Boston Conservatory, where she studied with Andy Vores, Dana Brayton, and later Ken Ueno.

To learn more about Erin, visit her at http://erinhuelskamp.com

••••••••••••••••••••

About The Boston New Music Initiative

The Boston New Music Initiative is an organization committed to the composition and performance of new music on the local, national, and international fronts. Founded in 2009, the Initiative's vision is to establish a network of composers, performers, conductors, directors, and champions of new music in order to generate new music concerts, compositions, collaborations, and commissions.

Visit: http://www.bostonnewmusic.org/

"

Another quote

Here's another quote from an article of Huelskamp yore:


“I founded Juventas with two other young composers who felt there was a flaw in the ‘system’. Instead of ‘whining’ … we decided to take initiative and form an ensemble that focuses on giving amazing performances of music by primarily young, living composers, and to perform this music as repertoire—meaning more than once. Since that time, we have worked diligently to form a community of supporters for our mission. Juventas, as it stands, is the result. I encourage you all to do the same. If you see a problem with the way ensembles, calls-for-scores, competitions, etc., are run … then create something that supports your ideas.”

-Erin Huelskamp, Executive Director & Co-founder, Juventas New Music Ensemble (Boston), post on SCIMEMBERS listserve, 01-MAR-2008. Chamber Music Today “We Are All Illegal Aliens Now: Ageism in Calls-for-Scores and Competitions as Quasi-Immigration Policy?”

Techno gone twisted: Review of Lukas Ligiti

My new review of Lukas Ligiti's CD Afrikan Machinery is up at Boston Lowbrow. Check it out here:
Techno gone twisted: Lukas Ligeti’s “Afrikan Machinery” is eclectic and shifting to the extreme

OperaHub Auditions for Der Zwerg - Huelskamp as Director

OperaHub announces auditions for our March 2010 production of Alexander Zemlinsky’s powerful one-act opera Der Zwerg (The Dwarf). We are seeking singers for the following roles: Der Zwerg (tenor), Donna Clara (soprano), Ghita (soprano/mezzo), Don Estoban (bass), as well as sopranos and mezzos for a dynamic women’s ensemble.

Auditions will be held by appointment on Monday, November 16 from 7:30-10pm and Tuesday, November 17 from 6:30-9pm, with walk-in auditions (no appointment necessary) on November 17 from 9-10pm. Auditions will take place at BU’s College of Fine Arts, 855 Commonwealth Ave. Please check signs in the lobby when you arrive for the room number. Individual callbacks will be scheduled for the evening of Tuesday, November 24.

Please bring two contrasting arias, including one in German, that showcase your vocal and dramatic ability. Women interested in the women's ensemble may bring one prepared piece in German. An accompanist will be provided.

To schedule an audition, please email auditions@operahub.org with your name, voice part, and preferred audition date and time (if any).

The production is directed by Erin Huelskamp, with music direction by Julia Scott Carey. Rehearsals will begin in early January and performances are March 11-14, 2010. All roles are volunteer.

Founded in 2007, OperaHub is committed to bringing engaging, innovative and accessible opera productions to the Boston area.  For more information, visit our website: www.operahub.org

Juventas New Music Ensemble announces a Call for Chamber Operas

Juventas New Music Ensemble announces a Call for Chamber Operas:
Juventas New Music Ensemble announces the Call for Chamber Operas. One opera will be selected from this call for performance in the Juventas Opera Project 2010 the Cambridge YMCA Theater on Thursday, May 20 through Saturday, May 22 at 8 PM and Sunday, May 23 at 3 PM.

Juventas is seeking Chamber Operas 45 minutes in length or longer scored for vocalists and up to 13 instrumentalists. Additionally, all composers must be age 35 or under as of Janurary 1st of the present year to be eligible for consideration.

Act fast! The application deadline is November 14, 2009.

Details and application instructions are available at http://www.juventasmusic.com/submissions.php. Any additional questions or comments can be directed to info@juventasmusic.com.

Here are a couple images from the Juventas Opera Project 2009:

Palin’s Got Rhythm

Guerilla Opera presents the world premiere of Curtis Hughes’ new opera Say It Ain’t So, Joe

(Preamble: This review was written for The Opera Insider; unfortunately, their site is currently experiencing technical difficulties and will not launch in full until later this year. Due to the time sensitive nature of concert reviews, I am temporarily posting here.)

Politicians speak in musical rhythm, or so composer Curtis Hughes asserts in his new opera Say It Ain’t So, Joe – a one-and-a-half hour light tragedy showcasing the 2008 vice presidential debate.  Written for four singers and four instrumentalists, Hughes explores the musical rhythm of political speech – specifically, that of Sarah Palin and Joe Biden. While there is much to be said about Sarah Palin, one thing is certain: she has a very specific twang to her speech.  Hughes’ setting captured this characteristic with ease, splitting the difference between straight speech, a sort-of sung musical theater style, and the Schoenbergian concept of Sprechstimme, a specific vocal technique in which singers dramatically speak-sing. Jennifer Ashe’s version of the former vice presidential candidate’s vocal characteristics sounded authentic and captivating, always presented with a lilting smile that hinted at the perhaps slightly clueless nature of her character. 

The two-act opera alternated scenes between fully sung personal interviews, first with Palin and later with Joe “the Plumber,” and relatively strict, speak-sing settings of the debate.  The stage direction by Nathan Troup served as a creative aid to understanding the theatrics through the use of props and one captivating video camera angle.  The camera – which projected circus-like multiples of Palin and friends onto a screen located upstage left – dramatically highlighted the media influence on political spectacle while enhancing the musical punches Hughes added to the dialogue.  Further, Troup placed white human-shaped cutouts capable of standing and sitting on their own throughout the Boston Conservatory’s Zack Box Theater.  The cutouts served as a sort of metaphoric commentary on the American public as they mutely watched the story unfold from the sidelines. 

The instrumentalists were precise; I took special notice of Rane Moore as she doubled Biden’s and Palin’s speech rhythms in mockery of political games.  Her bumbling, low clarinet tone added the perfect punctuation to Hughes’ rhythmic vocal settings of the debate.  Kent O’Doherty also stood out on saxophone as he stealthily stole long, beautiful notes from Aliana de la Guardia’s version of Palin, making it seem as though her voice reverberated forever until a sudden swelling crescendo brought it to my attention that I was now hearing a saxophone and not a singer.

Honestly folks, this production is the whole package: amazing singing and acting, smart stage direction that captivates, musical precision, and one darn good composition.  Bravo to Guerilla Opera for commissioning the work and performing it with such gusto! For more information, visit http://www.guerillaopera.com/

*Say It Ain’t So, Joe picture by Rudolph Rojahn

-E

“One Hell of an Opera!” Jean-Paul Sartre’s groundbreaking play receives the operatic treatment!

Okay, I am re-blogging an article on Andy Vores' opera No Exit. Go see it if you can; it's good. I borrowed this from Chip Michael's blog Interchanging Idioms.

-E

--

One Hell of an Opera!” Jean-Paul Sartre’s groundbreaking play receives the operatic treatment!:

Chicago Opera Vanguard Presents the Chicago Premiere of No Exit by Boston Conservatory Composer Andy Vores

(September 20, 2009 --- Chicago , IL ) Chicago Opera Vanguard, in partnership with Center on Halsted and Praxis Productions, kicks off its 2009/2010 Season with the Chicago premiere of NO EXIT by Boston composer Andy Vores. Based on Jean-Paul Sartre’s groundbreaking play, NO EXIT’s limited 3 performance run begins Friday October 16 at Center on Halsted’s Hoover-Leppen Theatre, 3656 N Halsted St, in Chicago ’s Lakeview neighborhood.

“Hell is … other people!” Jean-Paul Sartre’s classic black comedy, premiered in German occupied Paris in 1944, receives the operatic treatment! There is nowhere to run and nowhere to hide as three self-absorbed people who neither know nor like each other, are trapped together in one room… forever! Full of intense drama and sly comedy, NO EXIT is a haunting and humorous vision of damnation that you will never forget.

For this modern morality play, director George Cederquist has gathered an impressive ensemble of singing actors, musicians and visual artists from across Chicago’s creative community.

NO EXIT is presented as a part of Center on Halsted’s month long celebration of Chicago Artists’ Month 2009, “Chicago Artists Month 2.0.” More information on Chicago Artists Month can be found at chicagoartistsmonth.org.

Composer Andy Vores was born in Wales in 1956 and raised in England. He studied composition at Lancaster University with Edward Cowie. In 1986 he was a Tanglewood Composition Fellow, studying with Oliver Knussen. In 1989 he moved to Boston and in 2001 was appointed Chair of Composition, Theory, and Music History at The Boston Conservatory.

Mr. Vores’ music has been performed by the London Sinfonietta, the Boston Modern Orchestral Project, the New England Philharmonic, The Cantata Singers, the Scottish National Orchestra, the Dayton Philharmonic Orchestra, the Omaha Symphony, Boston Musica Viva, The Nash Ensemble, the BBC Singers, Irvine Arditti, Sarah Walker Lynn Torgove, Dominique Labelle, Dawn Upshaw, Gilbert Kalish, Sanford Sylvan, Kendra Colton, Kathleen Supové, David Kravitz, Karol Bennett, and many others.

Juventas Review - Murmors From Limbo

REVIEW by BOSTON THEATER REVIEW

Enjoy!

-E

------

Murmors From Limbo:


Juventas New Music Ensemble, a resident of the Boston Conservatory, offered quite the “mind trip” with it’s fall selection, Murmurs From Limbo: A Musical Exploration Into the Human Mind. The ensemble features young artists in the Boston area and strives to produce and promote composers under the age of 35, but this is not an easy task. Filling an audience for classical works can be hard enough, but add to that a bevy of unheard of composers and the risk of green performers, and you have the potential for a disaster- thank goodness Juventas pulled it off with class and style.

Murmurs From Limbo featured six pieces that could not be any more unique from one another- from classic compositions, to dramatic percussive performance piece, Juventas pushed the envelope, and pushed the boundaries of the audience’s expectations.

Tim Stullman’s Deaf Ears Hear No Crying is a tribute to those who seek justice but go unheard. From the first moment of odd scratching and the plucking of piano strings, it is clear that this is not your average composition, in fact, the piece defines the genre of “new classical music” in its ability to combine the a classic and beautiful orchestration with elements of jarring and otherworldly reality.

Bit of Nostolgia by Matt Boyd and performed by Brian Calhoon was a surprising foray into the inner working of a percussionist’s mind. Seeing each object on the stage as a potential vessel for music, Calhoon moved about the stage playing everything from a paper bag to a handful of plastic chains. In glorious contrast to Stullman’s piece, it worked as a perfect bridge to what I consider to be the most beautiful piece of the night.

Erich Stem’s Revisited filled the auditorium with the rich and beautiful sounds of the East. Inspired by Japanese Shakuhachi music, the three movements of this piece are unique and beautiful. The third movement, inspired by an 18^th century poem by Minezaki Koto, echoed the feeling of poetry with fluid lines and sophisticated nuances.

The second part of the evening started off with the fun, playful The Mind is a Monkey, Swinging From Branch to branch Through the Forest by Ethan Greene. The mouthful of the title is an homage to the text of the Sutra, and the music does it justice- full of movement and a witty repartee between the instruments.

Part didgeridoo, part tuba beat-boxing is the best way to describe the piece that stole the show. Fnugg by Norwegian composer Oystein Baadsvick was an all around crowd-pleaser as performed by tuba genius, John Eliot. The audience could not help to gasp in audible delight as Eliot morphed the homely tuba into an unexpected boom-box of fun. Whoops and hollers followed him off the stage until he had to take a second bow.

The evening of music closed with the title piece of the production, Murmurs from Limbo by Steven Rice. Unfortunately this piece fell a little flat for me (no pun intended). As the title engagement of the night, I was expecting to be blown away, especially with the caliber of music and fun we’d previously experienced, but unfortunately Murmors from Limbo was not my cup of tea. A mish-mashed conglomeration of weird shouting and singing in middle English, odd and ugly dissonant music, and an irritating lack of balance between voices and instruments left me feeling pretty disappointed- the text translations provided did no assist in my understanding help because it was extremely difficult to hear the vocalists sing (or moan/shout/growl). It almost felt like a parody of what someone might do if they were trying to make fun of “modern classical music”. That being said, I did appreciate the fine performance of the orchestra, and what I could hear of singers Thea Lobo and Owen Mcintosh.

It was wonderful to see Juventas staples Michael Sakir and Julia Carey giving their skill to the production, and special congratulations to new associate conductor, Lidiya Yankovskaya for an excellent debut!

The Juventas New Musical Ensemble has a lot of exciting productions coming up throughout the year, and will continue with their spring Opera project. I’m looking forward to seeing what’s in store.



Music Director, Michael Sakir in action
Photo credit: Cayuga Strategies, LLC.