New York Times: When Musicians Get Up and Move

…If opera singers are expected to move about the stage and interact with other performers, Ms. Woolf argued, so could string players. “When we hear a musical phrase, we hear a statement of language,” she said. “We all are in the business of emotional storytelling — with everything we have.”

A Victorian dictum, now out of fashion, states that children should be seen, not heard. The opposite might be said of the 19th-century concert setup: Players were to be heard, not seen — or at least not draw attention to themselves.

But that view is changing as well. Continue reading “New York Times: When Musicians Get Up and Move”

OPERA-L: The Washington Chorus “New Music for a New Age” features the fabulous music of Luna Pearl Woolf

…The final work was indeed the highlight of the afternoon with a semi-world premiere of Ms. Woolf’s Opera, The Pillar with libretto by David Van Taylor … all we wanted was more than thirty something minutes!

Oxingale Records

12472551_10153312822265877_8573125744741823225_n-1March 1, 2016

On Sunday our dear friend, tenor Jonathan Blalock was in town as a soloist with the Washington Chorus at the National Presbyterian Church just up the street from our home, and we had to attend. The fact that the program was dedicated to new music and specifically the works of composer, Luna Pearl Woolf, who just had such a huge success with her world premiere of BETTER GODS at Wash Natl Opera made it even more of a treat.

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San Francisco Classical Voice: Lisa Delan Recital A Pure Delight

Oxingale Music

Lisa Delan

February 15, 2015 

Lisa Delan’s performance Wednesday evening at the San Francisco Conservatory of Music was billed as part of the Alumni Recital Series. But inside the SFCM’s comfy Sol Joseph Recital Hall, it felt more like a visit to the homes of the five composers — four of who were smilingly seated in the small audience — with soprano Delan serving as the friendly, fascinating, attractive and — did I forget ‘talented’? — hostess.

Luna Pearl Woolf, the first up of those composers, was flanked in the fourth row by the children she parents with cellist Matt Haimovitz, there on stage with pianist Christopher O’Riley to accompany the world premiere of his wife’s Rumi: Quatrains of Love, which opened a program that in several ways also served as an early run-up to Valentine’s Day. Delan, in fact, was dressed in a bright red ruffled dress, as she vocalized…

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Mountain Lake, PBS: Mélange à Trois

Oxingale Music

May 17, 2014

MÉLANGE À TROIS is an instrumental theater work, set for violin, cello and percussion. In this voiceless opera, each musician embodies a character in an enchanting tale of misplaced love. MÉLANGE À TROIS is an instrumental theater work, set for violin, cello and percussion. In this voiceless opera, each musician embodies a character in an enchanting tale of misplaced love.

After first hearing Krystina Marcoux’s fiery, solo performance of Jennifer Higdon’s Percussion Concerto back in 2013, it was with a lot of anticipation that I attended Luna Pearl Woolf’s original voiceless opera Mélange à Trois with the BIK ensemble last Friday, May 16th at McGill University’s Pollack Hall.

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The Washington Post: Washington Chorus makes splendid theater out of Luna Pearl Woolf’s works

Oxingale Records

Massachusetts-born composer Luna Pearl Woolf returned to Washington on Sunday for a concert devoted to her music: two chamber works, a semi-operatic piece and excerpts from an upcoming opera. Woolf’s stature has been growing significantly in the world of new music. All four compositions in Sunday’s concert pushed the dramatic parameters of soprano and chorus — voices often forced to the extreme. Likewise, cellist Matt Haimovitz, Woolf’s husband, had many chances to shine in expressive wizardry as an accompanist to the singing and sometimes even as a protagonist. As part of the series New Music for a New Age, the Washington Chorus was directed by Julian Wachner, whose pungent conducting brought equally pungent results from the performers.
Soprano Marnie Breckenridge has sung everything from soloist in Johannes Brahms’s German Requiem to La Princesse in Philip Glass’s “Orphée.” In Sunday’s “Odas de…

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Q2 Music: Matt Haimovitz Channels Vast Dynamic Range in 4-Hour Retrospective, ‘Orbit’

Oxingale Records

August 10, 2015

A Q2 Music Album of the Week Selection.

'Matt Haimovitz - Orbit: Music for Solo Cello (1945-2014)'“Matt Haimovitz – Orbit: Music for Solo Cello (1945-2014)”(Pentatone Music)

I’ve got a cranium full of Matt Haimovitz at the moment, and have not yet reached capacity. Clocking in at 3.75 hours, the cello soloist’s latest release, “Orbit,” stockpiles the majority share of selections from five albums (on his Oxingale Records label), spanning 2003-2011, along with recent numbers by Phillip Glass and Luna Pearl Woolf.

To be clear, listening to four hours’ worth of any unaccompanied instrument is generally accepted as a legitimate defense in arson/public indecency/manslaughter trials, but here, Haimovitz cleverly arranges his three-album set more as a playlist than a triptych of full-lengths. Given his exemplary facility on the instrument, and the liberal span of repertoire he’s tackled since debuting with the Israel Philharmonic at age 13, “Orbit” is an expedition well worth…

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