12/1/2019

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Andy Hudson and Victoria Nelson

earspace kicks off its 2019-2020 season with a duo show by Andy Hudson (clarinet) and Victoria Nelson (percussion). The pair has programmed some of their favorite works by friends and colleagues, including local composer and UNC-Greensboro faculty member Mark Engebretson and earspace Co-Director Richard Drehoff Jr.


1/5/2020

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Schnee

Described as “fragile and beautiful, tender and rugged, simple and complex at the same time” (BR Klassik), the work of Hans Abrahamsen is captivating beyond belief, and earspace is excited to present his intimate masterwork Schnee. Abrahamsen writes, “In my own work, an ongoing idea has persisted, of at somepoint writing a work consisting of a number of canonical movements that would explore this universe of time… In Schnee, a few simple and fundamental musical questions are explored. What is a Vorsatz [resolution]? And what is a Nachsatz [afterthought]? Can a phrase be answering? Or questioning?” earspace will also be performing the North Carolina premiere of “Dream Logic” by composer Pierce Gradone, who was selected as the winner of our 2019-2020 call for scores.


2/19–20/2020

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As One

We are thrilled to be working with Carolina Performing Arts to produce As One by Laura Kaminsky. As One is a chamber opera in which two voices—Hannah after (soprano Melina Jaharis) and Hannah before (baritone and UNC-Chapel Hill faculty member Marc Callahan)—share the role of a sole transgender protagonist as she endeavors to resolve the discord between herself and the outside world. Described by the New York Times as an opera that "...forces you to think, simultaneously challenging preconceptions and inspiring empathy,” earspace looks forward to bringing this work to the communities of central North Carolina.


5/2/2020

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earspace with Ah Young Hong

earspace is extremely excited to be collaborating with internationally-acclaimed soprano Ah Young Hong. Known for her “fearlessness and consummate artistry” (Opera News) Ah Young joins earspace in a performance of Per Nørgård’s “Seadrift” and “Nova Genitura,” paired with J.S. Bach’s Cantata BWV 82 “Ich Habe Genug.”

Nørgård describes “Seadrift” as “a song of earthly love…like my ‘Nova Genitura.’” Based on the Walt Whitman poem of the same title, “Seadrift” depicts the fate of two birds on a desolate beach, observing their “happiness…in being together” and the “shrill, plaintive cries” of the abandoned male bird. In “Nova Genitura,” Nørgård explores the concept of Mary, both as “gentle and maternal” and as associated with the “Star of the Sea, Maris stella,” exploiting symbolic simplicity across “complex interweaving of concurrent melodies.”

J.S. Bach’s “Ich Habe Genug” demonstrates a disdain for earthly life and a thirst for death. The cantata follows a similar programatic structure to that of “Seadrift,” beginning with an acclamation of salvation and concluding with a yearning to “emerge from all the suffering that still binds [her] to the world.”


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