Banff Special Edition! (R)Evolution: Resonant Bodies faculty member and pianist Vicky Chow talks with ResBods director Lucy Dhegrae about her teaching philosophy, how she feels about the word "accompanist," and about how her interests led her to be one of the Bang on a Can All-Stars.
With her expressive and nuanced interpretations of contemporary works, Canadian pianist Vicky Chow has been described as “brilliant” (New York Times), “new star of new music” (Los Angeles Times) and “one of our era’s most brilliant pianists” (Pitchfork). Captivating audiences around the world with her expansive repertoire and musical prowess, she enjoys a diverse career collaborating with many of the world’s most renowned composers and ensembles.
2017-2018 season highlights will include appearances at the POLIN Museum (Warsaw, Poland), the International PuSh Festival, and ISCM World Music Days (Vancouver, Canada), as well as presenting an all John Zorn program including a world premiere at National Sawdust (Brooklyn, New York) with Tyshawn Sorey and Shanir Blumenkranz. Chow’s piano duo X88 will tour Holland and the U.S. with their new program Outer Limits, premiering works by Nik Bärtsch, Pete Harden, Vanessa Lann, and Tristan Perich.
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 (ICE), Wet Ink Ensemble, and Momenta Quartet. Her critically-acclaimed sophomore solo album A O R T A released in 2016 on New Amsterdam Records, was hailed as “imaginative” and “compelling” (I Care If You Listen) and “above all else a triumph of curation” (Second Inversion). Her 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. 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 (http://www.sonatralp.com/).
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 has been published in Musicworks Magazine, 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’.
In the summer, Ms. Chow is on faculty at the Bang on a Can summer festival held at Mass Moca in North Adams, Massachusetts. She was recently on faculty at the Banff Centre in Canada for their first Composer/Pianist summer ARC program.
A graduate of The Juilliard School and Manhattan School of Music, Vicky Chow is a Yamaha Artist.
Ariadne Greif, who performed not only on the inaugural 2013 NYC Festival but also on the 2014 NYC Festival, discusses her set for the Sydney Festival which is a collection of her favorite things: juvenilia, toys, transcriptions, and dreams. Her fabulous Dreams and Nightmares project travels for the first time outside of NYC, and will receive a special expansion this September. For more information, please visit the show note: resonantbodiesfestival.org/podcast/2018/ariadne-greif-show-notes
ARIADNE GREIF, praised for her "luminous, expressive voice" (NYTimes), her "elastic and round high notes" (classiqueinfo), and her "mesmerizing stage presence" (East Anglian Daily Times), began her opera career as a ‘boy’ soprano in the Los Angeles area and at the LA Opera, eventually making an adult debut singing Lutoslawski’s Chantefleurs et Chantefables with the American Symphony Orchestra. She starred in roles ranging from Therese/Tirésias in Poulenc’s Les Mamelles de Tirésias, singing a “thoroughly commanding and effortless” run at the Aldeburgh Festival, to Sappho in Atthis by Georg Friedrich Haas, for which the New York Times noted her “searing top notes,” and “dusky depths,” calling it “a solo high-wire act for Ms. Greif,” “a vehicle for Ms. Greif’s raw, no-holds-barred performance,” “one of the most searingly painful and revealing operatic performances in recent times.”
Last season she sang three performances of Carmina Burana, debuted as Musetta in La Bohemewith Eric Jacobsen and the Greater Bridgeport Symphony, appeared with The Knights for the first time, and returned to the Orlando Philharmonic as Adina in The Elixir of Love with Eric Jacobsen, where she was praised as a "sassy" Adina, with "tonally pleasing high notes and a delightful sparkling quality to both her singing and acting." In the fall, she sang the main role of Rhinemaiden Melania in eleven performances of Matti Kovler's opera The Drumf and the Rhinegold, directed by Doug Fitch, with a reprise in May, and returned to Metropolis Ensemble to perform solo Cage on roller-skates at their 10th Anniversary Musicircus. In spring she made an appearance in Doug Fitch's Art Gallery Variety Show at National Sawdust, sang recitals of Crumb and Britten and 2nd Viennese School masterpieces, as well as a recital at Mainly Mozart Miami with baritone John Moore and pianist Marina Radiushina, and toured for a fourth time to the Middle East with SHUFFLE Concert.
This season includes concerts in France, Arizona, Colorado, Florida, Georgia, Illinois, Maine, Nevada, Utah, Virginia, Ohio, and New York. In November, Ariadne made a cameo appearance alongside William Kentridge in performances of the Dada masterpiece Ursonate. She returns to the The Knights, Shuffle Concert, Floating Tower, and Metropolis Ensemble, and sings for the first time with the Refugee Orchestra Project, the MATA Festival, and Alterity Chamber Orchestra. She appeared at the Charlottesville Chamber Music Festival, Washington Square Music Festival, and Festival Daniou. Repertoire includes Carmina Burana, Mendelssohn's concert aria "Infelice!", Bach's Wedding Cantata, new songs by Angélica Negrón, various recital appearances of Viennese music from the 20th century including an all-star Degenerate Cabaret, and three workshops of new operas. In January she performed in 1933, a new theatrical cabaret of music from the eponymous year with the ensemble SHUFFLE Concert. In her fourth project with director Doug Fitch, Greif was part of the premiere of the new opera Six. Twenty. Outrageous., by Daniel Thomas Davis, in February. Projects in the spring included David Gordon's 40 minute song cycle Mysteria Incarnationis at the MATA Festival with Miranda Cuckson and Blair McMillen, as well as a concert of Mozart and Haydn concert arias with Michael Feldman and The Orchestra at St. Veronica's, a new performance series in a deconsecrated church in the West Village. In May, Ariadne is featured in Classical Celebration, a gala event at the Sarasota Opera House.
Concert performances in 2015/16 included Beethoven Symphony No. 9, Mozart Requiem, and Mozart Vespers K.321, concerts of chamber music in venues from Carnegie’s Weill Hall to Le Poisson Rouge, across the US, Canada, and in the Middle East, as well as several contemporary music projects. She created and executed a twenty-composer commissioning project of her own, called DREAMS & NIGHTMARES, subject of an upcoming documentary, Only a Dream, by filmmaker Caroline Mariko Stucky. In 2016 she performed Milton Babbitt’s Solo Requiem with Joel Sachs and Robert Fleitz at the Juilliard Focus! Festival, went on a recital tour with the AW Duo in the American South, and made an American Midwest tour with the ensemble SHUFFLE Concert, with whom she has performed over 250 concerts. She made a repeat performance of Ricardo Romaneiro's Coarse Air with the Metropolis Ensemble, sang a concert with Gabriel Kahane of music by Kahane and David Lang at the Meidän Festival at the Finnish National Theatre in Helsinki. In April she sang the role of Papagena in Die Zauberflöte with the Orlando Philharmonic.
A champion of new music since her teens, she has premiered over fifty large-scale pieces and a half-dozen new operas, which most recently included Yaga the Witch in Matti Kovler’s Ami & Tami, where she played a villain for the first time, and a nameless main role in Gabrielle Herbst’s disturbing masterpiece BODILESS. Though the opera is hardly ‘new’ at a hundred years old, Ariadne sang the main female role, Lady Madeline, in the US premiere of Debussy’s unfinished opera La Chute de la Maison Usher in its most complete form, with the Opera Français de New York.