DIGITAL PROGRAM
In beauty may I walk
|
As we begin this concert, “In beauty may I walk” summons our audience to escape the noise and pressure of the modern world. "With beauty before me, behind me, above me—all around me," this Navajo prayer reminds us to open our eyes, honor, and preserve the simplicity of our short moments here on earth.
--Sara Gomez, Creative Council |
Vesper Sparrow
|
"Vesper Sparrow" is an amalgamation of a pastoral style of Sardinian folk singing with a more contemporary jazz choral sound that uses rearranged fragments of an already very synesthetic poem called “Home State" by Farnoosh Fathi. In EPHEMERA, this piece symbolizes the erratic pulse of the machine that is our society. There is obvious conflict between these forces, but everything is continually propelled forward: “I am a shattered horse, asleep in the glass pajamas of man!”
--Abram Poliakoff, Creative Council |
Crown of Flames
|
"Crown of Flames" is ultimately about finding resilience and renewal in destruction, taking very much from the phrase "rise like a phoenix from the ashes." It is based on "Pyrophitic," a poem by Brian Sonia-Wallace, about pyrophytes--plants that are able to resist flames. Looking at the ways that native species have evolved through centuries to withstand fire, we thought this would be a perfect metaphor to deliver the message of hope in the era of climate change.
--Saunder Choi, Composer |
Cloud Cover
|
When singing "Heavy air. Musky skin. Low flies the drowsy moth," I cannot help but think about the last couple years we’ve all been through. The way that Divya blends musical feelings with lyrical poetry is inspired and haunting. There is much heaviness in the world around us right now, and this song reminds us that if we can find our stillness and wait, overcome, grieve, move forward--the next phase will emerge, the sun will return.
--Marisa Esposito, Soloist |
Cloudburst
|
"Cloudburst" is described by its composer Eric Whitacre as "a ceremony"--a description that I feel really encapsulates both the experience of performing this piece and of hearing it performed. The music goes beyond beautiful harmony (though there is certainly plenty of that) to create an immersive celebration, encouraging us to revel in the experience of paying attention to the natural world around us. As we participate in a man-made, sonic rainstorm, we are invited to consider the power, beauty, and occasional ferocity of water.
--Rob Deitz, Conductor |
Rain
|
This movement at the heart of my choral suite RAIN CYCLE was inspired by the Southern California rain. Living here changed my relationship to rain completely: where in other parts of the world, rain is a nuisance that marooned me inside and left me feeling cold and irritable all day, I now yearn for the rain all year, counting down the hot months until February rolls around again. Living in Los Angeles, I now rejoice in the coming of the rain, and–in my musical imagination–the rain is rejoicing too...
--Divya Maus, Composer |
Shall I Compare Thee to a Summer’s Day
|
In the heat of summer, an often painful, exhausting heat can suffocate and kill life, depleting hydration and drying up thirsty buds once full of water in the spring. Yet, this love poem embraces the extremes of summer in a declaration of the beloved's radiance, life, vitality, and eternal beauty, likened to a single day of summer's brilliant sunshine, lifted from the aftermath of prolonged heat.
--Baraka May, Conductor |
When the Party’s Over
|
"When The Party's Over" is such a great example of "less is more" in terms of a vocal performance. Billie Eilish sings almost to herself, in the most hushed way, as she comes to terms with the ending of a relationship. It's this pained, quiet, haunting style that I hope to capture with this arrangement for the L.A. Choral Lab.
--David Stal, Arranger |
Concert repertoire developed by Abram Poliakoff, with support from the L.A. Choral Lab Creative Council.
VOCALISTS
|
SOPRANOS
Rachel Bearer Devon Davidson Allie Feder Emily Goglia Sara Sinclair Gomez |
ALTOS
Katharine Eames Marisa Esposito Jessica Freedman Laura Jackman Baraka May Ann Sheridan |
TENORS
Josh Bedlion Saunder Choi Frank Hobbs Abram Poliakoff Fletcher Sheridan |
BASSES
Ryan Álvarez Will Goldman Julian Jensen Charles McDonald David Stal |
ACKNOWLEDGEMENTS
Project CollaboratorsVanessa Dabhour, Graphic Designer
Katie Eikam, Percussionist Lauri D Goldenhersh, Lauri's List Susan Gomez, Backdrop Artist Kevin Good, Percussionist David Harris, FCCLA Chris Harrison, Musician and Engineer Ellen November, Fiber Artist Daniel Weidlein, Audio and Lighting Technician Danny Wood, Videographer |
Project DonorsJanet Esposito
Gabriel Mann Kevin Miller and Chad Detloff Ellen November David Werthe Event VolunteersDolores Stef
Chris Harrison Noah Hunt Suzy Stokey |
LEADERSHIP
L.A. Choral Lab Creative Council
Ryan Álvarez
Marisa Esposito Sara Sinclair Gomez Frank Hobbs Divya Maus Abram Poliakoff |
L.A. Choral Lab Board of DirectorsLauren Johnson
Gabriel Mann Daniel November Kathryn Caterina, Secretary David Werthe, Treasurer Chad Detloff, Chair and Executive Director |
|
There is still time to bid on original works by fiber artist and LACL supporter Ellen November. Click the image to see and bid on pieces that relate to the themes of Ephemera and support the work of the Choral Lab! |
|
This project is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture. |
|
This event is funded in part by a grant from the City of Los Angeles Department of Cultural Affairs. www.culturela.org |