In its seventh annual incarnation as New York’s most innovative and wide-ranging presenter of contemporary vocal artists, the acclaimed Resonant Bodies Festival is proudly welcomed back to Roulette. Featuring an international roster of virtuosic singers, world premieres, and an exhilarating mix of genres, the nine vocalists performing over three days will provide an immersive musical experience unlike any other.
$30 Superfan Tickets include VIP seating (2-3 three rows front-row-center) and one drink ticket to Roulette’s Bar.**
A set of new songs—multi-layered stories woven with threads of the subconscious and vocal improvisation—told with Anaïs Maviel’s custom-made 14-string kamale n’goni.
Musical Dialogues features her longtime collaborator and Wet Ink ensemble member Sam Pluta (electronics) in exploratory improvisations, as well as vocalist and composer Kate Soper’s new piece for voice and piano, Fragments of Parmenides.
Ted Hearne previews a piece commissioned by Carnegie Hall, a new song cycle set to Dorothea Lasky’s fearlessly frank yet seductively prophetic poetry collection AWE. Hearne, performing as lead vocalist, is joined by cellist Ashley Bathgate (Bang on a Can), keyboardist Nathan Koci, guitarist Taylor Levine (Dither), violist Diana Wade, and drummer Ron Wiltrout; they will perform within an arresting and kinetic installation by conceptual artist Rachel Perry.
Anaïs Maviel is a vocalist, percussionist, composer, music director, and community facilitator. Her work focuses on the function of music as essential to settling common grounds, addressing Relation, and creating a utopian future. Inspired by Edouard Glissant’s reflections on Creolization, she has associated her practice with the inextricable currents that move spaces and people between times and lands. The contemporary context of re-formulation of self, reality and social structures led her to question the use of language, and to explore its vibratory essence in music. Involved at the crossroads of mediums—music, visual art, dance, theater and performance art—she has been an in-demand creative force for artists such as William Parker, Steffani Jemison, Daria Faïn, Larkin Grimm, Shelley Hirsch, Mara Rosenbloom, Melanie Maar & La Bomba de Tiempo—to give a sense of her eclectic company. As a leader she is dedicated to substantial creations from solo to large ensembles, music direction for cross-disciplinary works, and to expanding the power of music as a healing & transformative act. She performs extensively in New York, as well as in North, Central, and South America and Europe. Maviel was a 2018 Van Lier Fellow at Roulette. Her solo debut hOULe, out on Gold Bolus Recordings, received international acclaim and she recently released an eponymous album with carnivalesque duo DIASPORA. With a Masters Degree in Aesthetics (Literature, Arts & Contemporary Though—Paris VII Diderot University), she focused her scholarly works on Afrocentric paradigms of Creative Music as utopian alternative politics. Recent achievements also include: Co-Music Director for NOISE, a new musical by César Alvarez (Public Theater, NYC, 2018); Full length work Metadire premiered by Cross Times (Roulette, NYC, 2018); DIáSPORA eponymous album release on São Paulo based label Hérnia de Discos as the culmination of a South, Central, and North American tour in partnership with Chiquita Magic (Argentina, Chile, Brazil, Colombia, Peru, Mexico, United States, Canada, 2017-2018); Composer, Music Director and Performer for “Mayday Heyday Parfait” in collaboration with the Commons Choir, Daria Faïn, Robert Kocik & Darius Jones (BRIC, NYC, 2017); Composer, Music Director & Performer for Urban Bush Women’s Summer Leadership Institute “Undoing Racism” final performance, Kumble Theater, NYC, 2016.
Kate Soper is a composer, performer, and writer whose work explores the integration of drama and rhetoric into musical structure, the slippery continuums of expressivity, intelligibility and sense, and the wonderfully treacherous landscape of the human voice. She has been hailed by The Boston Globe as “a composer of trenchant, sometimes discomfiting, power” and by The New Yorker for her “limpid, exacting vocalism, impetuous theatricality, and mastery of modernist style.” A Pulitzer Prize finalist, Soper has received awards from the Guggenheim Foundation, the American Academy of Arts and Letters (The Virgil Thomson and Goddard Lieberson awards and the Charles Ives Scholarship), the Koussevitzky Foundation, Chamber Music America, the Lili Boulanger Memorial Fund, the Music Theory Society of New York State, and ASCAP, and has been commissioned by ensembles including the Los Angeles Philharmonic, the American Composers Orchestra, and Yarn/Wire. She has received residencies and fellowships from the Civitella Raineri Foundation, the Radcliffe Institute for Advanced Study, the Camargo Foundation, the Macdowell Colony, Tanglewood, Royaumont, and Domaine Forget, among others. Praised by the New York Times for her “lithe voice and riveting presence,” Soper performs frequently as a new music soprano. She has been featured as a composer/vocliast on the New York City-based MATA festival and Miller Theatre Composer Portraits series, the Chicago Symphony Orchestra’s MusicNOW series, and the LA Philharmonic’s Green Umbrella Series. As a non-fiction and creative writer, she has been published by Theory and Practice, the Massachusetts Review, and the Journal of Interdisciplinary Voice Studies. Soper is a co-director and performer for Wet Ink, a New York-based new music ensemble dedicated to seeking out adventurous music across aesthetic boundaries. She teaches composition and electronic music at Smith College.
Composer, singer, bandleader, and recording artist Ted Hearne (b.1982, Chicago) draws on a wide breadth of influences ranging across music’s full terrain, to create intense, personal and multi-dimensional works. Ted Hearne was awarded the 2014 New Voices Residency from Boosey and Hawkes, and is a member of the composition faculty at the University of Southern California. Ted’s many collaborators include poets Dorothea Lasky and Jena Osman, visual artists Sanford Biggers and Rachel Perry, directors Daniel Fish and Patricia McGregor, and filmmakers Bill Morrison and Jonathan David Kane, and his works have been conducted by Michael Tilson Thomas, John Adams, and Gustavo Dudamel. Recent and upcoming commissions include orchestral works for the San Francisco Symphony, Los Angeles Philharmonic, New World Symphony, Los Angeles Chamber Orchestra and A Far Cry, chamber works for Eighth Blackbird, Ensemble dal Niente and Alarm Will Sound, and vocal works for Conspirare, The Crossing, and Roomful of Teeth.
Resonant Bodies Festival was founded to catalyze the creation of new vocal music, to expand the audience for new vocal music, and to challenge and transform the role of the vocal recitalist. Since its inception in 2013, RBF has been greeted with sustained critical acclaim and the delight of audiences and vocalists alike. For three nights every September in New York City, nine vocalists are given curatorial carte blanche over a forty-five minute set. This freedom—rarely granted to vocalists in the contemporary music world—gives each show a “happy zealousness, where the singers’ enthusiasm for their repertoire [is] contagious” (Sequenza 21). Thanks to a generous grant from the Ellis L. Phillips Foundation, RBF had its Australian debut at the Melbourne Recital Centre on May 17, 2017, which was greeted with much enthusiasm from the international vocal music community. Since then, RBF has expanded to include festivals in Chicago and Sydney, with an LA festival slated for 2019. In addition to the festivals, RBF reaches 25,000+ listeners around the globe through MRMR, the Festival’s extensive collection of online resources. MRMR includes: professional audio, video, and photo documentation of each Festival; Resonant Bodies Podcast, which features in-depth interviews with vocalists year-round; and the Contemporary Vocal Music Database, an open, crowdsourced, searchable index of 20th and 21st century vocal works with links to musical scores, as well as audio and video recordings. The Database aids composers in promoting their works to a larger audience, and assists vocalists in their search for new and meaningful repertoire.
This performance is a co-production between Roulette and the Resonant Bodies Festival.
**Roulette Member discounts are not applicable on Superfan Tickets. We please ask that Superfan ticket holders arrive 20 minutes prior to show time to be guaranteed VIP seating. Any unclaimed VIP seats will be released at performance start-time indicated and made available to general admission holders. No refunds will be given for unclaimed tickets.