(R)evolution: resonant bodies
July 30-August 4, 2018
RBF teams up with Banff Centre and summer program co-artistic directors Claire Chase and Steve Schick for (R)evolution: Resonant Bodies.
Applications are now closed
(R)evolution: Resonant Bodies, the world’s foremost gathering of adventurous vocalists, offers participants the opportunity to perform, create, collaborate, and experiment with their voices in an environment that encourages creativity and exploration. Led by a faculty of world-renowned artists, participants will explore the voice in its many forms, engaging vocal practices that span centuries and world traditions.
What does the program offer?
Repertoire will be both assigned to participants as well as chosen by them; additionally, participants can take part in workshops with faculty on topics like improvisation, extended techniques, live electronics, movement practices, and others. (R)evolution hopes to stretch every participant to try something new; participants who identify chiefly as instrumentalists and composer will be asked to prepare and perform a contemporary work for voice, and will receive voice lessons from faculty. Vocalists and instrumentalists who do not chiefly identify as composers will receive composition lessons from faculty, and be asked to write a Super Premiere—a term coined by Resonant Bodies denoting a work bigger than a world premiere, a new composer’s first-ever piece of music—to be shared during the week. Participants will present various public and in-house performances, as well as convene in daily meetings for high-level presentations by select faculty about a range of topics relevant to the contemporary vocal music world: care and maintenance of the voice, approaches to complex scores, performance aesthetics, professional development, music technology, improvisation, standard repertoire, and others. Composers will write new works to be premiered by participants; every participant will perform with their voice, and every participant will compose for the voice. Lessons and workshops in voice and composition will be available.
Who should apply?
(R)evolution seeks passionate, adventurous individuals who identify as vocalists, instrumentalists, and/or composers. Those who are interested in stretching themselves beyond their current realm (as just a vocalist, instrumentalist, or composer) are especially welcomed, as are those who already identify as a composer-vocalist, instrumentalist-composer, vocal-instrumentalist, and so on. Voices from classical and non-classical training backgrounds are welcome; all participants will explore notated and non-notated practices. The most successful applicants will be post-secondary students or emerging artists, already at an advanced level of accomplishment and with a well-documented record of musical exploration. Artists from historically underrepresented groups are especially welcomed.
Soprano Tony Arnold is a luminary in the world of chamber music and art song. Today’s classical composers are inspired by her inherently beautiful voice, consummate musicianship, and embracing spirit” (Huffington Post). Hailed by the New York Times as “a bold, powerful interpreter,” she is internationally acclaimed as a leading proponent of contemporary music in concert and recording, having premiered hundreds of works by established and emerging composers. Since becoming the first-prize laureate of both the 2001 Gaudeamus International Competition (NL) and the 2001 Louise D. McMahon Competition (USA), Tony Arnold has collaborated with the most cutting-edge composers and instrumentalists on the world stage, and shares with audiences her “broader gift for conveying the poetry and nuance behind outwardly daunting contemporary scores” (Boston Globe). Her unique blend of vocal virtuosity and communicative warmth, combined with wide-ranging skills in education and leadership were recognized with the 2015 Brandeis Creative Arts Award, given in appreciation of “excellence in the arts and the lives and works of distinguished, active American artists.
Canadian pianist Vicky Chow has been described as “brilliant” (New York Times), “a monster pianist” (Time Out New York) and “new star of new music” (Los Angeles Times). She is the pianist for the Bang on a Can All-Stars, piano duo X88, Grand Band, New Music Detroit, and has collaborated with other ensembles such as the International Contemporary Ensemble and Wet Ink Ensemble. Her latest recordings of Steve Reich’s 'Piano Counterpoint' (Nonesuch) and Tristan Perich’s 'Surface Image' (New Amsterdam Records) was included in the top albums of the year lists such as The Rolling Stone Magazine and Rhapsody. Her solo album AORTA (fall 2016 - New Amsterdam Records), features six new works by American composers. such as Rome prize winners Andy Akiho and Christopher Cerrone. Later this year, an EP of a solo piano work by Bang on a Can founder Michael Gordon titled "SONATRA", will be released on Cantaloupe Music. As an artist frequently broadcasted on WNYC’s Q2 radio, her recorded work can be found on the 'Nonesuch', 'New Amsterdam', ‘Tzadik’, ‘Cantaloupe Music’,’ Innova’, ‘Hinterzimmer’, and ‘AltaVoz’ labels. Interviews and articles featuring Ms. Chow was published in the Huffington Post, Gramophone, The New York Times, The Vancouver Sun, and many more. Her performances of Morton Feldman and John Cage were featured on BBC3‘s documentary series ‘The Sound and The Fury’, based on Alex Ross’ book ‘The Rest is Noise’. Starting the piano at age 5, she was invited to perform at the age of 9 at the International Gilmore Music Keyboard Festival. She made her orchestral debut at the age of 10 with the Vancouver Symphony Orchestra and made her NY orchestral debut appearance at Alice Tully Hall with the Juilliard Symphony performing Bartok’s Piano Concerto No. 1. Ms. Chow is a Yamaha Artist
anthony roth costanzo
Countertenor Anthony Roth Costanzo began performing professionally at the age of 11 and has since appeared in opera, concert, recital, film, and on Broadway. A champion of new work, Costanzo recently created roles in the world premieres of Jimmy Lopez's Bel Canto at the Lyric Opera of Chicago and Jake Heggie's Great Scott at the Dallas Opera. He has also premiered works written for him by Matthew Aucoin, Paola Prestini, Gregory Spears, Suzanne Farrin, Bernard Rands, Scott Wheeler, Mohammed Fairouz, and Steve Mackey. In the spring of 2017 he will premiere a new work by Nico Muhly in New York. Costanzo is passionate about interdisciplinary collaboration, and recently helped create two unique presentations of The Tales of Genji with sold-out runs in Kyoto that incorporated traditional Kabuki, Noh actors, dancers and western music. He also created a pasticcio about castrati in collaboration with choreographer Karole Armitage and filmmaker James Ivory which was chronicled by the documentarian Gerardo Puglia. The subsequent film was selected for the Cannes Film Festival and aired on PBS affiliates. Costanzo played Francis in the Merchant Ivory film, A Soldier’s Daughter Never Cries, for which he was nominated for an Independent Spirit Award, and Simon in Brice Cauvin’s De particulier a particulier. Working with composers, choreographers, directors and performance artists, he has appeared in New York venues such as National Sawdust, where he is a curator, and at Le Poisson Rouge, The Metropolitan Museum of Art, Joe’s Pub, The Park Avenue Armory, and The Guggenheim Museum.
“Vocal versatility and an omnivorous curiosity” (New York Times) are the hallmarks of mezzo-soprano Lucy Dhegrae, a passionate vocalist with a flexible technique that fits a variety of styles. She has performed with the International Contemporary Ensemble (ICE), Talea Ensemble, the Albany Symphony, among others, at such venues as Miller Theatre, Lincoln Center, and the Kennedy Center. Dhegrae, who is “everywhere new music is being sung” (New York Classical Review) regularly premieres new vocal works and operas, and has worked closely with such composers as Unsuk Chin, Jason Eckardt, Susan Botti, Alexandra Vrebalov, and Sky Macklay. Her opera premieres include Trillium J by Anthony Braxton, Andy: A Popera (Opera Philadelphia/Bearded Ladies Cabaret), A Marvelous Order by Judd Greenstein, and Ashley Fure’s The Force of Things. Dhegrae’s festival appearances include Darmstadt (Germany), Klangspuren (Austria), Mostly Mozart, Bard Music Festival, Gesher Music Festival (St. Louis), and Aldeburgh Music Festival (as a Britten-Pears Young Artist). As “soprano and raconteur” (The New Yorker) she directs Resonant Bodies Festival, a festival of contemporary vocal music that takes place in NYC and beyond, which she founded in 2013. She graduated from the Bard College Conservatory Graduate Vocal Arts Program (MM in Vocal Performance ’12) as well as the University of Michigan School of Music, Theatre, and Dance (BM in Vocal Performance '08).
Sofia Jernberg is a Swedish singer and composer, born in Ethiopia in 1983, and raised in Sweden, Ethiopia and Vietnam. One of Jernberg's deepest interests as a singer is to develop the “instrumental” possibilities of the voice. Her singing vocabulary includes an array of techniques that push beyond the conventions of Western vocal sound. She has dug deep into split tone singing, pitchless singing and distorted singing and her skills have been applied to a wide array of musical projects. In 2014, Sofia performed Arnold Schönberg’s Pierrot Lunaire and Salvatore Sciarrino’s Lohengrin and she composes for modern jazz octet Paavo, and contemporary quartet The New Songs. As an improviser, Jernberg appears in many different constellations, but regularly in a duo with cellist Lene Grenager. As a composer, her main focus lies in the blending of improvisation and composition. Upcoming collaborations involve DuoEgo (Sweden), The Peärls Before Swïne (Sweden), Trondheim Jazz Orchestra (Norway), The Opera Group (UK), and Norbotten Big Band (Sweden).
Nathalie Joachim is “an edgy multi- genre performance artist who has long been pushing boundaries with her flute”. (The Washington Post) Critics hail the Brooklyn born Haitian-American for creating “a unique blend of classical music, hip-hop, electronic programming and soulful vocals reminiscent of neo- R&B stars like Erykah Badu.” (The Wall Street Journal) Ms. Joachim regularly combines her exceptional performance skill as a flutist with her creative talents as a composer, producer and singer, navigating genres ranging from classical and jazz to indie-rock and electronic. She was recently appointed flutist of the four-time Grammy winning contemporary chamber ensemble, Eighth Blackbird. Joachim is also co- founder of the critically acclaimed urban art pop duo, Flutronix, known best for “redefining the flute and modernizing its sound by hauling it squarely into the world of popular music.”(MTV Iggy) As a composer, Joachim has acquired a number of notable commissions for dance, instrumentalists and interdisciplinary theater, each featuring her signature electroacoustic style. Upcoming premieres include Fanm d’Ayiti, an evening-length work for flute, voice, string quartet and electronics, commissioned by and developed in residency through St. Paul Chamber Orchestra’s Liquid Music series (2018). Other recent projects include Land Bridge, an evening-length score for Helen Simoneau Danse (2016) funded by New Music USA; Ulysses in 3, a collaboration with renowned jazz drummer Ulysses Owens, Jr. as part of Park Avenue Armory’s Under Construction residency program (2015); and Dam Mwen Yo for solo cello and processed field recordings written for Amanda Gookin of PUBLIQuartet as part of her Forward Music Project, and premiered at National Sawdust in Brooklyn, NY (2017).
Christine is a Licensed Massage Therapist and graduate of the Swedish Institute College of Health Science in New York City. She specializes in Vocal Massage, which includes Laryngeal and TMJ Therapies. After graduating, Christine received extensive training in Myofascial Release, Laryngeal Therapy, TMJ Therapy and several other specialties and modalities. She will begin her certification training in Cranial Sacral Therapy in May 2016. She is a proud member of PAMA (Performing Arts Medicine Association) and works along side New York's leading Otolaryngogists, Speech Pathologists and Voice Teachers to provide the manual component for vocal rehabilitation and vocal health maintenance. Christine has a thriving private practice in NYC where she works with professional voice users from all around the world.
Peter Tantsits, named one of his generation’s most consistently satisfying contemporary vocal music specialists by Opera magazine, continues to receive acclaim for his performances of 20th-and 21st-century compositions, as well as the high-tenor opera repertoire of Rameau, Mozart, Britten, Henze, Ravel, Janacek, Berg, Strauss and Ligeti. He debuted at the Teatro alla Scala under Lorin Maazel in 2008 and last season made his debut at Munich’s Bavarian State Opera in the acclaimed new production of Zimmermann’s Die Soldaten. Notably with the New York Philharmonic he sang in the New York premiere of Ligeti’s Le Grand Macabre under Alan Gilbert. Highlights for this and the upcoming season include a return to the Bavarian State Opera for Die Soldaten; the title role in the German premiere of Dusapin’s Perelà at the Staatstheater Mainz; and Andres in Wozzeck at the Concertgebouw Amsterdam. He returns for an engagement with the London Symphony Orchestra and will make debuts with the Berlin Philharmonic, LA Opera, Theater Basel, Fort Worth Opera, the Netherlands Radio Philharmonic Orchestra, his Carnegie Hall debut with the New York Oratorio Society and returns to BAM for Nathan Davis’s Hagoromo. Highlights from engagements in recent seasons include his debut at the Leipzig Gewandhaus in Bernstein’s Candide with the MDR Sinfonieorchester, his debut as Ramiro in Rossini’s La Cenerentola at the Konzert Theater Bern, in Carmina Burana at the Vienna Konzerthaus, and in the Swiss premiere of Elena Kats-Chernin’s The Rage of Life. He appeared as Beauty in The Triumph of Beauty and Deceit at the Händel-Festspiel of the Badischen Staatstheater Karlsruhe, and as John Worthing in Gerald Barry’s The Importance of Being Earnest in a touring production by Antony McDonald in Ireland and the UK; he gave the European premiere of the same work at the Barbican Center in London under Thomas Adès, which was recently released by NMC records.
Vocalist, composer and cultural worker Imani Uzuri has been called "a post modernist Bessie Smith" by The Village Voice. Uzuri creates music that reflects her rural North Carolina roots where she grew up singing Spirituals and line-singing hymns with her grandmother and extended family in their small rural church. Uzuri's music also highlights her affinity for her African American cultural musical practices like antiphony, polyrhythms and the use of melisma, guttural sounds and moans. She has recently been praised in the New York Times for her "gorgeously chesty ruminations". Her compositions for bands, choral ensembles, chamber orchestra, musical theater and solo voice also include influences from her travels around the world to places like Hungary, Morocco, Ethiopia, Russia, Kazakhstan and Japan where she shared these foundational American musical sounds with international audiences and communities while also learning about their musical traditions. Uzuri's new album, The Gypsy Diaries, draws on her roots as well as influences ranging from Sufi devotionals to Romany laments. Her ensemble features unique instrumentation combining sitar, acoustic guitar, cello, Japanese shinobue flute, and Persian percussion. It is a vibrant lyrical and spiritual sound scape that reached #2 on Rhapsody's World Music Top 10.
Pamela Z is a San Francisco-based composer/performer and media artist who works primarily with voice, live electronic processing, sampled sound, and video. A pioneer of live digital looping techniques, she creates solo works combining experimental extended vocal techniques, operatic bel canto, found objects, text, digital processing, and wireless MIDI controllers that allow her to manipulate sound with physical gestures. In addition to her solo work, she has been commissioned to compose scores for dance, theatre, film, and new music chamber ensembles including Kronos Quartet and the Bang on a Can Allstars. Her large-scale multi-media works have been presented at venues including Theater Artaud and ODC in SanFrancisco, and The Kitchen in New York, and her media works have been presented in exhibitions at the Whitney Museum (NY) , the Diözesanmuseum (Cologne), and the Krannert Art Museum (IL). Her multi-media opera Wunderkabinet – inspired by the Museum of Jurassic Technology (co-composed with Matthew Brubeck) has been presented at The LAB Gallery (San Francisco), REDCAT (Disney Hall, Los Angeles), and Open Ears Festival, Toronto. Pamela Z has toured extensively throughout the US, Europe, and Japan. She has performed in numerous festivals including Bang on a Can at Lincoln Center (New York), Interlink (Japan), Other Minds (San Francisco), La Biennale di Venezia (Italy), and Pina Bausch Tanztheater Festival (Wuppertal, Germany). She is the recipient of numerous awards including a Guggenheim Fellowship, the Doris Duke Artist Impact Award, the Creative Capital Fund, the Herb Alpert Award in the Arts, The MAP Fund, the ASCAP Music Award, an Ars Electronica honorable mention, and the NEA and Japan/US Friendship Commission Fellowship. She holds a music degree from the University of Colorado at Boulder.