Staging and Design
According to the Los Angeles Times, composer and performer Eve Beglarian “is a humane, idealistic rebel and a musical sensualist.” A 2017 winner of the Alpert Award in the Arts for her “prolific, engaging and surprising body of work,” she has also been awarded the 2015 Robert Rauschenberg Prize from the Foundation for Contemporary Arts for her “innovation, risk-taking, and experimentation.” Read more at evbvd.com
BRYCE CUTLER is a scenic and media designer based out of New York City. His work has been seen at The Guthrie Theater, New York Stage and Film, Westport Country Playhouse, The Folger Shakespeare Library, HERE Arts and has designed world premieres by John Patrick Shanley, Dael Orlandersmith, Matt Aucoin and Grammy Award Winner Steven Mackey. He is the recipient of the United States Institute of Theatre Technology’s Rising Star Award (2017), the Lloyd Weinger Award for Stage Design and his design for The Lady In Red... was selected for international exhibition at the 2015 Prague Quadrennial. His work has also been published in the Contemporary Performance Almanac. He is a co-founder of Third Space, a political theater collective creating experiential performances in community spaces. Associate/assistant design work includes plays and musicals for Broadway, The Metropolitan Opera, The Public Theater, Berkeley Rep, Hartford Stage, Second Stage, The Vineyard Theater, The Denver Center, Oregon Shakespeare Festival, LA Opera & Seaworld, among others. He is a graduate of Carnegie Mellon University and is a member United Scenic Artists, Local USA 829.
“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.
Percussionist Amy Garapic is an energetic soloist, chamber musician, educator and adventurous producer who continually seeks to explore the role of percussion in todays music and culture. With a strong passion for the creation of new work, her performing is split between the new music powerhouse Contemporaneous and the Brooklyn-based avant-pop percussion trio TIGUE. She has worked closely generating new sounds with composers Robert Honstein, Jason Treuting, and John Luther Adams; has performed alongside So Percussion, NEXUS, Bang on Can’s Asphalt Orchestra and pop icon David Byrne; and has traveled to make music in Jordan, Mexico, Paris, and most recently India alongside Grammy award winner AR Rahman. Read more at tiguemusic.com/amy-garapic
Pala Garcia is a critically acclaimed violinist, balancing a full performance schedule with her work as an educator and advocate of community engagement. As the co-founder of Longleash, an “expert young trio” (Strad Magazine) specializing in contemporary music, she also co-leads the Loretto Project, a graduate-level composition seminar and concert series in Kentucky. Garcia has performed as a guest on numerous occasions in some of the world’s finest ensembles, including the Bavarian Radio Symphony Orchestra, Orchestra of St. Luke’s, Orpheus Chamber Orchestra, and Ensemble Modern. Garcia has been active in community engagement projects led by Carnegie Hall and the Weill Music Institute since 2010, working with a diverse group of New Yorkers to create music in environments that need music the most, including prisons, shelters and hospitals. Read more at palagarcia.com
Stage Director Alison Moritz’s recent productions have been lauded as “astute,” “imaginative,” and “elegantly sexy” by Opera News. Her 2018-2019 season includes company debuts at Opera Colorado (La Traviata), Lyric Opera of Kansas City (Sarah Kirkland Snider’s Penelope), Ravinia, and Experiments in Opera. She also returns to Washington National Opera for the world premiere of Taking Up Serpents (composed by Kamala Sankaram, libretto by Jerre Dye) and to New Orleans Opera for an inventive new production of Abduction from the Seraglio. Later this season, Alison helms productions of La Bohème and Madama Butterfly for Austin Opera and Central City Opera.
Recent directing highlights include the world premiere of Missy Mazzoli and Royce Vavrek’s Proving Up (Washington National Opera), as well as new productions of Candide (Tanglewood), The Manchurian Candidate (Austin Opera), Orpheus in the Underworld (New Orleans Opera), Abduction from the Seraglio (Madison Opera), Trouble in Tahiti (Opera Santa Barbara), and a genre-bending triple bill of rarities for Bard Conservatory (Pulcinella, Full Moon in March, and Svadba). As an assistant director, her professional credits include engagements with Santa Fe Opera, Seattle Opera, Opera Theatre of St. Louis, Minnesota Opera, Atlanta Opera, Wolf Trap Opera, Central City Opera, Opera Memphis, and Chautauqua Opera. www.alisonmoritz.com
Composer and multi-instrumentalist Angélica Negrón was born in San Juan, Puerto Rico in 1981 and is currently based in Brooklyn, New York. Interested in creating intricate yet simple narratives that evoke intangible moments in time, she writes music for accordions, robotic instruments, toys and electronics as well as chamber ensembles and orchestras. Her music has been described as “wistfully idiosyncratic and contemplative” (WQXR/Q2) and “mesmerizing and affecting” (Feast of Music) while The New York Times noted her “capacity to surprise” and her “quirky approach to scoring”. She was recently selected by Q2 and NPR listeners as part of “The Mix: 100 Composers Under 40” and by Flavorpill as one of the “10 Young Female Composers You Should Know”.
Osnat Netzer /osˈnat ˈnɛtsɛʁ/ is a multi-faceted musician based in Cambridge, Massachusetts. Born in Haifa, Israel, she developed a love of music at a very young age, and trained intensively as a composer, pianist and singer-songwriter throughout her high school years, military service and undergraduate studies at the Jerusalem Academy of Music and Dance. She came to the United States in 2003 for graduate studies in composition, music theory and piano at Mannes, and continued her studies in composition at New England Conservatory, where she earned her doctorate in 2011. Her highly theatrical and engaging compositions have been performed in Israel, France, Germany, Korea, the Netherlands, Poland, Turkey and the United States. Performers of her music include Firebird Ensemble, Boston Modern Orchestra Project, Kaprizma Ensemble (Israel), Ensemble Consart (Germany), saxophonist Geoffrey Landman and bass David Salsbery Fry. Read more at osnatnetzer.com
The curious timbres, expressive noises, and kinetic structures of Katherine Young’s electro-acoustic music explore the dramatic physicality of sound, shifting interpersonal dynamics, and associations with the familiar and the strange. Ensemble Dal Niente, Wet Ink, Talea, String Orchestra of Brooklyn, Spektral Quartet, Fonema Consort, Weston Olencki, Nico Couck, and others have performed her music. She’s excited about recent and coming-soon projects with Internationales Musikinstitut Darmstadt, the CSO’s MusicNOW, Third Coast Percussion, and Distractfold Ensemble’s Linda Jankowska.