Peter Tantsits is a full-time road warrior, singing some of the craziest vocal repertoire all over Europe. In this episode, he chats with Resonant Bodies Festival director Lucy Dhegrae about his upcoming workshops at (R)evolution: Resonant Bodies, in Banff (July 30-August 4), the totality of a contemporary vocalist's artistic duties, and about how his career as an opera singer may actually be one grand piece of performance art. For more information about Peter Tantsits and links to the recordings mentioned on this episode, please visit our Show Notes.
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.
Gelsey Bell is more fearless than she's ever been. That means she's writing music, recording an EP, working with choreographers, resonating architecture, and, oh yeah, finishing a book. Bell joins Resonant Bodies Festival director Lucy Dhegrae to talk about her upcoming NYC 2018 Festival set on September 13th at Roulette, and discusses the projects—current and former—that have cemented her reputation as an intrepid composer, singer, writer, and thinker.
For more information about Gelsey Bell and links to the recordings heard on this episode, please visit our Show Notes!
This podcast was edited by Jeremy Hirsch.
Described by the New York Times as an “imaginative” “winning soprano” whose performance of her own music is “virtuosic” and “glorious noise,” Gelsey Bell is a New York City-based singer, songwriter, and scholar. Her performance creations have been presented internationally. She has released multiple albums, including most recently Ciphony with John King, and Toyland, with Joseph White. She was a 2017 recipient of the Foundation for Contemporary Arts Music/Sound grant and she is currently the EtM Ridgewood Bushwick Composer-in-Residence. Her works include Bathroom Songs, Scaling, Our Defensive Measurements, This Takes Place Close By (with thingNY), Prisoner’s Song (with Erik Ruin), and the acclaimed adaptation of Robert Ashley’s Perfect Lives (with Varispeed). She is a core member of thingNY, Varispeed, and the Chutneys. Her work has been commissioned by the Jerome Foundation/Roulette, Ne(x)tworks, Avant Media, and the Lumen Festival. She also wrote and performed music for Anna Sperber’s Wealth from the Salt Seas, Compagnie CNDC-Angers’s performance of Merce Cunningham’s EVENT, directed by Robert Swinston, and Kimberly Bartosik’s You are my heat & glare. Other performance highlights include Dave Malloy’s Natasha, Pierre, & the Great Comet of 1812(on Broadway) and Ghost Quartet, Robert Ashley’s Crash, Matthew Barney and Jonathan Bepler’s River of Fundament, John King’s Micro-Operas, Yasuko Yokoshi’s BELL, Kate Soper’s Here Be Sirens, and Gregory Whitehead’s On the Shore Dimly Seen, for which she offered original vocal improvisations. She has a PhD in Performance Studies from NYU and is currently completing a book about American experimental vocal music in the 1970s. She is the Critical Acts Co-editor for TDR/The Drama Reviewand the Reviews Editor for The Journal of Interdisciplinary Voice Studies www.gelseybell.com