In the market of contemporary classical music, I sang professionally throughout the United States for many years. This music often features an extended range, weird noises, growls, and stage speech as well as lyric and beautiful singing. I worked with composers, stage and music directors to program, or premier, over 300 American works from 1980 to 2005.
Collaborations took place with such luminary composers as the late John Cage, Clare Shore (student of Vincent Persichetti,) Lori Laitman (hailed by Grammophone Magazine,) Anne LeBaron (reviews in The New Yorker to L.A. Times,) and Ulf Grahn (New World Records and Stockholm Symphony.) I recorded for the old Orion Record Label and premiered the role of Elizabeth in Chris Patton’s Reunion at DC’s Signature Theater, back in the day. Patton was one of the first laser harpists. A laser harp uses light to sense the gestures of the hands and its own internal computer to interpret them.
Regionally & locally I lustily sang opera roles from Fiordiligi (Mozart’s Cosi fan Tutte) to The Grouch (the premier of the staged version of Robert Kapilow’s Green Eggs and Ham) to Aslan, the Lion (Thomas Tierney’s off-Broadway musical of Narnia) where I was the first woman to be cast in this role.
Oratorio Soloist appearances included Beethoven’s Mass in C with The North Carolina Symphony; Poulenc’s Gloria with The Reston Chorale; Bach’s Magnificat with The Washington Bach Consort and Mozart’s Mass in C Minor with The Moore Country Chorale Society.
My parallel loves of the visual arts & music inspired the creation and performance of programs for national art museums and galleries, coordinating exhibits with song. In this way I created another market for my singing as well as work as a choral and instrumental music conductor.
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