Mary Bonhag, who performs on the closing night of Resonant Bodies 2017 in New York, has planned a set that combines her love of text, humor, unconducted chamber music, and programming all in one. In this episode we talk about her nearest and dearest collaborators, and the way her favorite pieces seem to have magical, spell-casting properties. Mary is the co-artistic director of Scrag Mountain Music which is in her home state of Vermont.
Read more at marybonhagsoprano.com
The “extraordinary” (Classical Voice N. America) soprano Mary Bonhag is captivating audiences around the country with her “marvelous versatility” and “supple, expressive” voice (San Antonio News). Mary made her Carnegie Hallsolo debut in 2009 and orchestral debut with the American Symphony Orchestra in the same year. She is co-artistic director of Scrag Mountain Music with her husband, composer/double bassist Evan Premo. Together they organize chamber music residencies and innovative and affordable concerts around VT. A consummate collaborator, Mary has performed with the Aizuri Quartet, Decoda, Spektral Quartet, as well as chamber music festivals around the country including Cactus Pear (TX), San Francisco Contemporary Players, 21st Century Consort, and Yellow Barn. As a recitalist, she has been presented at Dartmouth, Smith, Goucher, and University of Vermont, and was a SongFest Stearns Fellow. Mary has premiered and commissioned works by Lembit Beecher, C. Curtis-Smith, Premo, Shawn Jaeger, and Evan Chambers. She has been featured on the NPR shows Performance Today and From the Top and appears on Albany Records.
Upcoming: Mary is a 2017 Tanglewood Fellow, she again sings the role of Eve in Premo’s The Diaries of Adam and Eve, at the Sembrich Opera Museum on Lake George, is a featured performer on the Resonant Bodies Festival in NYC, appears at the Beethoven and Banjos Festival in Michigan, and is in residence at the University of Michigan School of Music.
In between travels, she and her husband Evan make music and homestead in Vermont where they tend to their two young boys, animals, and gardens.
Davóne Tines brings not only his gorgeous and powerful voice to all of his performances, but also a thoughtfulness about his platform, and an ability to engage with the social consciousness. In our conversation, we discuss his upcoming 2017 Resonant Bodies set on September 5th entitled “Memorial”, a preview of a forthcoming album connecting songs that span time and genre with questions about spirituality, family, and community. We also discuss Davóne’s work with artists like Peter Sellars, Kaija Saariaho, and John Adams; his education at Harvard and Juilliard; and his process of engaging with harder-to-look-at subject matter.
Read more at alsoanoperasinger.com
Read LA Times article, "At 29, this 'El Niño' singer is the buzz of California's opera world"
Davóne Tines, deemed a “…singer of immense power and fervor…” by The Los Angeles Times and a “…charismatic, full-voiced bass-baritone…” by The New York Times, commands a broad spectrum of opera and concert performance as a singer and creator. The 2015-16 season offered breakout performances on both sides of The Atlantic: the Dutch National Opera presented his company debut starring opposite French counter tenor Philippe Jaroussky in the premiere of Kaija Saariaho’s Only the Sound Remains directed by Peter Sellars and The Los Angeles Times exalted Davóne Tines as “the find of the season,” for performances of Caroline Shaw’s By & By with the Calder Quartet and Kaija Saariaho’s Sombre with members of ICE at the Ojai Music Festival.
Performances of the present season include John Adams’ El Niño under the composer’s baton with the London Symphony Orchestra in London and on tour in France as well as with Grant Gershon conducting the Los Angeles Philharmonic, Bruckner’s Te Deum with Christopher Warren-Green and the Charlotte Symphony, and the Paris premiere of Kaija Saariaho’s True Fire with the Orchestre national de France. On the opera stage, Davóne Tines makes his debuts at Lisbon’s Teatro Nacional de São Carlos in a new production of Oedipus Rex (Stravinsky) led by Leo Hussain and at the Finnish National Opera reprising the roles he created at the Dutch National Opera in Saariaho’s Only the Sound Remains directed by Peter Sellars. National Sawdust brings to the stage Requiem for: A Tuesday, a ceremony of music and dance created and administered by Davóne Tines with his collaborator, Helga Davis, during which the audience is invited to witness and face collective and individual engagements of mortality and fear in the context of racialized police brutality. Requiem for: A Tuesday is reprised during the season in further performances across North America.
Highlights of the recent past include the world premiere of Matthew Aucoin’s opera, Crossing, directed by multi Tony Award-winning director Diane Paulus, for which The Wall Street Journal called him a “glowing bass-baritone” and the Stylus Music Journal said he “…brought the house down with his eloquent and painful singing” in the leading role of Freddie Stowers. Davóne Tines also premiered the one-man chamber opera, American Gothic, for which Details applauded his “…lush voice” and stated that “each section of the work benefits from Tines’ heartbreakingly rendered supplications…”
Mr. Tines performed with the Boston Pops in Symphony Hall and at Tanglewood where he was a Tanglewood Music Center Fellow. He has given performances of La bohème at the Royal Opera House Oman, La fanciulla del West with the Castelton Festival and on tour in Spain, as well as Otello all under the baton of Lorin Maazel.