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screecher reviews
Chicago Tribune • October 24, 2006
Jonathan Harvey: Song Offerings
Hans Werner Henze: Whispers from Heavenly Death
“…anything
sung by soprano Tony Arnold is worth hearing. Arnold was radiantly
inside the delicate atonal lyricism in both Jonathan Harvey's "Song
Offerings" (1985)
and Hans Werner Henze's "Whispers from Heavenly Death" (1948;
revised 1999).” — John von Rhein
Chicago Sun-Times • October 24, 2006
Jonathan Harvey: Song Offerings
Hans Werner Henze: Whispers from Heavenly Death
“Harvey's 18-minute song-cycle for soprano and chamber ensemble was
another showcase for the remarkable American soprano Tony Arnold.
Combining the British composer's softened version of atonality
with his interest in proto-New Age poetry and philosophy (the lyrics
here are by Rabindranath Tagore), this is a work at once lush in
feeling and austere in instrumentation. Arnold made the listener
feel as if he were seated atop an idyllic Bengali mountain.” — Andrew
Patner
Time Out Chicago • 6 July 2006
Luciano Berio: Sequenzas I–XIV (Naxos 8.557661-6)
“Soprano Tony Arnold (a frequent presence in Chicago)
gives a bracing account of Sequenza III on Naxos with awesomely
precise diction.”
www.classical.net • June 2006
Luciano Berio: Sequenzas I–XIV (Naxos 8.557661-6)
“The most interesting comparisons, I think, should
not be among the three collections, but between today's performers and the
original dedicatees, whenever possible. For example, it's gratifying to
hear how close Tony Arnold comes to Cathy Berberian in Sequenza III,
a fantasia of whoops, yips, and mutterings based on a brief text by Markus
Kutter. (I always half-suspected that Cathy was just making it up as she
went along, but now I know better!)”
Ionarts • 16 June 2006
Luciano Berio: Sequenzas I–XIV (Naxos 8.557661-6)
“Sequenza III for female voice, “a
zoo of vocal and acting exhibitions,” is given to Tony Arnold, who
hiccups and musico-stutters her way through this amusing, shifty work.”
Buffalo News • 7 June 2006
Augusta Read Thomas: Bubble Rainbow • Bernard Rands:
Wolcott Songs
“Pairing the brilliant soprano Tony Arnold with cellist
Jonathan Golove (Walcott Songs) and with an instrumental sextet (Bubble
Rainbow) showcased how combining intense, otherworldly tunesmithing
with conventional instruments can be experimental and accessible at the
same time.”
Music Web International • 6 June 2006
Luciano Berio: Sequenzas I–XIV (Naxos 8.557661-6)
“Tony Arnold’s aplomb is simply stunning.”
Chicago Tribune • 1 June 2006
Osvaldo Golijov: How Slow the Wind • Fulcrum Point
“Soprano Tony Arnold was in lovely voice in this beguiling work,
with quasi-minimalist accompaniment provided by string quartet and clarinet.”
Deceptively Simple • 16 May 2006
Anton Webern: Three Songs, Op. 18 • International Contemporary
Ensemble
“Arnold gave a riveting performance and made the angular
lines sound as non-angular as could be.”
Sequenza 21 • 1 March 2006
Complete Crumb Edition, Vol. 9 (Bridge 9170)
“The Bridge recording is vivid and exciting. Soprano
Tony Arnold gives a warm and compelling reading of both Ancient Voices and
the Madrigals, and boy soprano Justin Murray is excellent in Ancient
Voices, too.”
The Stranger • 2 February 2006
Complete Crumb Edition, Vol. 9 (Bridge 9170)
“One highlight is George Crumb's 1970 classic, Ancient Voices
of Children; though I love the early 1970s recording with Jan DeGaetani,
the serpentine melismas of soprano Tony Arnold sound equally stunning
on Complete Crumb Edition Vol. 9.”
Seen and Heard International • June 2005
Brian Ferneyhough: Etudes Transcendantales • Ensemble
21
“Perhaps the finest of all was the Etudes Transcendantales/Intermedio
II, which is sort of like a baroque concerto being subjected to experiments
in metre, timbre and texture – sort of like Schnittke, but with
more emphasis on microtones and a vocalist using texts by Ernst Meister
and Alrun Moll. With the lighting now a deep blue, the clear-voiced and
intrepid soprano Tony Arnold opened this disturbingly difficult music…”
International Record Review • November 2005
Complete Crumb Edition, Vol. 9 (Bridge 9170)
"It is impossible to hear the Madrigals and especially Ancient
Voices of Children without the voice of the late mezzo-soprano Jan DeGaetani
in the back of one's mind. Her recording of the latter work – she
was its dedicatee – remains a classic of its kind… [in Bridge
Records' new recording]
Tony Arnold acquits herself well here. While more restrained than
DeGaetani, she also
sounds more natural, letting the music speak for
itself."
Splendid
E-Zine • 9 November 2005
Complete Crumb Edition, Vol. 9 (Bridge
9170)
"Tony Arnold is the soprano soloist for both Ancient
Voices and Madrigals; her supple voice and enthusiastic performance of the scores' numerous
vocal effects make her a compelling interpreter of Crumb's music."
Chicago Sun-Times • 2 November
2005
John Harbison: North and South
"American soprano Tony Arnold has a beautiful and precise voice."
Chicago Tribune • 1
November 2005
John Harbison: North and South
"In setting poems of Elizabeth Bishop, [Harbison] elegantly shapes
the music to the natural contours of the text, always beautifully
rendered by the superb soprano Tony Arnold."
Shepherd Express • 29
September 2005
Esa-Pekka Salonen: Floof • Qu Xiaosong:
Mist "Featured soprano Tony Arnold gave a superhuman show of musicianship."
Milwaukee Journal-Sentinel • 25
September 2005
Esa-Pekka Salonen: Floof • Qu Xiaosong: Mist
"The ensemble [Present Music], with the remarkable Tony Arnold at
the forefront, played both with unshakable conviction."
Classics
Today • 13
August 2005
Complete Crumb Edition, Vol. 9 (Bridge 9170)
"Soprano Tony Arnold has appeared on several other Bridge recordings
containing difficult contemporary music by composers such as Carter
and Babbitt.
Her performances of Ancient Voices of Children and Madrigals are
the first that
challenge the classic recordings by Jan DeGaetani on Nonesuch and
New World. Aside from her totally fearless delivery, she presents
the music with a
naturalness and ease that allows us to forget all about its technical
difficulty, focusing instead on pure expression."
Buffalo News • 14 June 2005
Philippe Manoury: En Echo
"If Manoury conceived of and captured his creation, it was soprano Tony
Arnold who brought it to life. She stole the show. Arnold's intensity
and passion drew everyone into the mood."
Buffalo News • 9 June 2005
Simon Bainbridge: Four Primo Levi Settings
"Tony Arnold, a June in Buffalo regular, was the soprano soloist. Uncompromising
and intense, superbly controlled, she is a wonder all on her own.
She filled the music, which resembled Schoenberg, with boundless
sadness and, at times,
an eerie quietude."
New York Times • 25 April 2005
Brian Ferneyhough: Etudes Transcendantales
"One of the best pieces was the song cycle, Etudes
Transcendantales/Intermedio II, in which the thinner textures of
duets and trios made the complexity of what was going on more
effective. It wouldn't have sounded half
as good without Tony Arnold, the soprano soloist, who used her
light, delicate voice like an instrument and kept a steady line
of beauty in music that was veritably asking to be barked. "
The Plain Dealer • 25
February 2005
James Primosch: Holy the Firm
“Soprano Tony Arnold drew the listeners into the score’s rapturous
atmosphere with singing of tonal beauty and dramatic truth. Pianist
Jacob Greenberg played his collaborative role with clarity.”
Chicago
Tribune • 11 January 2005
Augusta Read Thomas: Prairie Sketches
I–Diamonds on Orchid Velvet
"The radiant soprano Tony Arnold was the soloist… Remarkably flexible and
assured of pitch, Arnold gathered Thomas' ecstatic music in the
pure, shining arc of her singing, showing no traces of discomfort
even when sustaining long, difficult phrases in the vocal stratosphere."
Boston Globe • 17
December 2004
Harrison Birtwistle: Nenia–The Death of Orpheus
"This piece is a tour de force for the solo soprano, who narrates
the grisly end of Orpheus's story in pitched speech, while singing
'offstage' parts
of both Orpheus and of Eurydice. The instrumentalists were expert,
the soprano, Tony Arnold, quite compelling in all three of her
quick-changing, interpenetrating roles."
Boston Phoenix • 16
December 2004
Harrison Birtwistle: Nenia–The Death
of Orpheus
"The concert ended with another marvel, Nenia:
The Death of Orpheus (1970),
a kind of dramatic cantata (nenia is Latin for
'funeral song') in which a soprano — the impressive Tony Arnold — sings
all three roles: the narrator telling the story and the lamenting
voices of the two lovers, Orpheus and Eurydice, who interrupt the
narrator after almost every word by calling out each other’s name
in despair. It was a vocal and dramatic tour de force."
Il Tempo (Italy) • 22
November 2004
Luciano Berio: Circles • O King • Sequenza III • Folk Songs
"…the astonishing power of [Sequenza III] never
ceased to amaze in the marvelous performance by Tony Arnold, soprano,
as she smilingly
passed through Berio's vocal jungle. She too was the perfect soloist
for Circles and O King."
San Francisco Classical Voice • 9 November 2004
George Crumb: Apparition • Three Early Songs "Lithe and dramatic (in the literal sense) soprano Tony Arnold was heard
to marvelous and mysterious effects in the very early Three
Early Songs. Arnold and Shannon's other collaboration, Apparition of
1979, just at the end of Crumb's
most masterful decade, has never sounded better."
Washington Post • 1 November 2004
George Crumb: Apparition • Three Early Songs
"From the first notes of Three Early Songs, written
when Crumb was a teenager in 1947, soprano Tony Arnold's phenomenal
talent was apparent.
Arnold delivered Crumb's setting of sentimental texts by Robert
Southey and Sara Teasdale with a clear tone, clean diction and
an understated earthy quality.
"Arnold proved her effective dynamic range with a deft decrescendo, ending
with her lips moving in silence in the 1979 work Apparition.
Her dramatic flair fit Crumb's compositional style well, her facial
expressions reflecting the nuances of Walt Whitman's somber text."
Houston
Chronicle • 28
October 2004
George Crumb: Apparition • Three
Early Songs
"Soprano Tony Arnold was the commanding soloist in the songs. Her work
in Apparition was particularly impressive for bringing Crumb's
intricate interpretation
of texts to life."
Charleston Gazette • 18
October 2004
George Crumb: Apparition • Three Early Songs
"Tony Arnold's pure, clear soprano delivered Night,
Let it be forgotten, and Wind Elegy with
unerring pitch through difficult intervals, and appropriate emotional
expressiveness. She sings with complete
self-assurance, obvious insight and excellent diction.
"[In Apparition]
Arnold revealed the intensely personal musings, sad memories
and spiritual redemption with artistry and grace. Her vocalise
technique revealed great voice range and mastery, as required
for glissandi, sudden fortissimo shouting, and conversely for
bird sounds and
forest murmurs."
Musical Pointers Online • 20 September 2004
Jonathan Harvey: Song Offerings • Lucerne
Festival Academy
"Tony Arnold
(a she from USA) with Cliff Colnot in charge of his Academy Ensemble, made
a palpable hit with Jonathan Harvey’s Song
Offerings, a performer and listener friendly setting of Tagore.
Hers is a name to memorize and I hope we will soon have opportunities
to hear those
two Americans in London."
Buffalo News • 11 September 2004
Solo Recital with Jacob Greenberg, piano
"Tony Arnold is an amazing
singer, and pianist Jacob Greenberg is an outstanding accompanist.
Together, they have the ability to
plunge a receptive listener into the depths of their programs through a combination
of stunning power and beguiling subtlety.
"To say that their take
on Les Nuits d’Été was revelatory
would be to damn with faint praise. Greenberg’s pianism was sensitive
without being cloying, flowing behind Arnold’s special artistry
and melding with it to create a superlative whole. It was one
of the finest performances of this work that this listener has
ever heard."
New Music Box • June
2004
The Music of Elliott Carter, Vol. 5 (Bridge
9128)
The Music of Milton Babbitt (Bridge 9135)
"…[this] should forever dispel the myth that the angularities of serial
atonality are antithetical to good musical prosody. Just as the
young American soprano Tony Arnold proved in her remarkable recent
recorded performances of Elliott Carter's Of Challenge
and of Love and Milton Babbitt's Quatrains, both
settings of the extremely demanding texts of John Hollander in
which every syllable is clearly
comprehensible, it's all in the performance."
La Folia Online Music Review
• May 2004
The Music of Elliott Carter, Vol. 5 (Bridge 9128) "The grandest offfering, Of Challenge and of
Love, receives a carefully
thought-out interpretation from soprano Tony Arnold and pianist
Jacob Greenberg. This song cycle demands repeated listening to
savor Carter's sensitive word painting."
Classical CD
Review • May
2004
The Music of Milton Babbitt (Bridge 9135) "Quatrains happens to enchant me… The performances are all first rate.
I should also especially cite soprano Tony Arnold and clarinetists
Charles Neidich and Ayako Oshima for their singing accounts. Arnold
manages the trick of not performing new music, but music. We get
simply extraordinary music-making from all parties."
Chicago Sun-Times • 28
April 2004
Bernard Rands: Canti Lunatici
"In poetry with texts by Whitman, Joyce, Lorca, Plath and others,
Arnold's supple soprano often hovered in the stratosphere like
a fragile, icy crystal wire. Drawing us in with rapt humming in
Quasimodo's Ed è subito sera, conspirational
whispers in Welcome to the Moon by
an anonymous Gaelic poet and gigling outbursts in Arp's Ein
in sich gekehrter Mond, she was our guide through an ever-changing,
enchanted moonscape."
Chicago Tribune • 28 April 2004
Bernard Rands: Canti Lunatici
"Soprano Tony Arnold sang, spoke, whispered and cried over the exquisitely
quivering sonorities of winds, brass, piano, percussion and strings.
This is music spun of moonbeams–luminous and delicately colored,
but quickly dissolving into darker emotional states."
Buffalo News • 26
March 2004
Ravel: Chansons Madécasses "Arnold's voice projected a lovely, liquid sound in Nahandove and the concluding
Il est doux, and she equally well captured the tension and anger
of the central Mefiez-vous des blancs which wails about the treachery
of the white man."
BBC Music Magazine • March
2004
The Music of Milton Babbitt (Bridge 9135)
"Quatrains is a delight on the ear, with
Tony Arnold's pure and accurate soprano delicately making music with two
clarinets. "
Buffalo
News • 12
February 2004
Kurtág: Kafka Fragments • Movses
Pogossian, violin
"Tuesday night's concert at Slee Hall showcased a superb violinist,
a stunning vocalist, and a challenging set of compositions… Tony Arnold,
a tremendously talented soprano, joined Movses Pogossian onstage
after the intermission…
The skilled interplay between Pogossian's impressive violin artistry
and Arnold's superbly honed vocal talents met Kurtág's challenges
head on… Their listeners were appreciative as the performers wove
their way through a score that was, by turns, fierce, delicate,
stentorian, and, above all, intense."
New York Times • 11
January 2004
The Music of Milton Babbitt (Bridge 9135)
"Quatrains has two clarinets bending close
to a soprano singing a poem by John Hollander. The soprano here,
Tony Arnold, beautifully gauges
the fine cool of Mr. Babbitt's lyricism in this counterpoint of lines."
-- Paul Griffiths
Splendid
E-zine • 3
December 2003
The Music of Milton Babbitt (Bridge 9135)
"Like earlier vocal works, such as Phonemena and
Philomel, Quatrains' soprano part is one of
considerable virtuosity, with angular leaps and a wide range required
of the soloist. In spite of these challenges,
Babbitt's
setting is both sensitive to prosody and aware of tessitura; the
writing never sounds overly taxing. This is a testament to supple-voiced
soprano
Tony Arnold as well."
Buffalo News • 3
December 2003
Dmitri Shostakovich: Seven Romances •
Baird Trio
"The Baird Trio was joined onstage by Tony Arnold, a most wondrous soprano,
for a drop-dead gorgeous rendition of Shostakovich's song cycle
Seven Romances on Poems of Alexander Blok...
'Ophelia's Song' featured Arnold's superb singing and Jonathan
Golove's warm, sensuous cello artistry..."
Pitchfork Media • 7
November 2003
The Music of Milton Babbitt (Bridge 9135)
"Soprano Tony Arnold (it's a girl) is pretty famous for performances of
modern classical works, and she's typically impressive here, singing
what must have been extremely challenging lines with impressive
delicacy and accuracy."
Chicago Maroon • 3 November 2003
Sofia Gubaidulina: Perceptions • Contemporary
Chamber Players
"The instruments provide an atmospheric background to the poetry set so
exquisitely by Gubaidulina, and delivered so effectively by baritone
Stephen Swanson and soprano Tony Arnold as to make an English monolingual
believe she could understand German."
Buffalo News • 31
October 2003
Solo Recital • works of Schoenberg, Messiaen, and Sharafyan
"Soprano Tony Arnold and pianist Jacob Greenberg are adventurous, fearless
and very adept... the presence of violinist Movses Pogossian added
to the evening's electricity. Really, the room was alive.
"Arnold sang the Schoenberg songs with an alluring combination
of grace and hard-knock strength. She is no shrinking violet.
She filled the 15 songs with more drama than other singers have, giving
them an almost operatic intensity. "Blessed with an impressive range and a voice as smooth as cognac, Arnold
can handle leaps and challenging harmonic progressions with ease.
When the music calls for it, though, she's not afraid to be a little
daring... Arnold seems to embrace whatever she sings – she can
make a listener love a work, just because she does."
Chicago Sun-Times • 27
October 2003
Sofia Gubaidulina: Perceptions •
Contemporary Chamber Players
"Tony Arnold was spellbinding, whether reciting Tanzer's text in an urgent,
ghostly whisper or sending forth Gubaidulina's deliberate, wide-ranging
vocal line with laserlike clarity."
American Record Guide • Sep/Oct
2003
Lukas Foss: Time Cycle • Slee Sinfonietta
"Tony Arnold was the soloist, technically sensational. Her intonation and
emotional commitment to this extremely wide-stepping music were
stunning, creating in the huge leaping or falling intervals a sense
of spontaneity not often captured in such lurching atonal scores. "
Classical Music Web • 3
August 2003
The Music of Elliott Carter, Vol. 5 (Bridge 9128)
"Soprano Tony Arnold and pianist Jacob Greenberg are vital and powerful
interpreters."
Guardian Unlimited • 18
July 2003
The Music of Elliott Carter, Vol. 5 (Bridge 9128)
"In the song cycle Of Challenge and of Love,
on the poetry of John Hollander, the soprano Tony Arnold and pianist
Jacob Greenberg relish the detail that Carter
lavishes on his settings, each one absorbingly articulate and bracingly
affirmative."
Buffalo News • 11
April 2003
Lukas Foss: Time Cycle • Slee Sinfonietta
"Soprano Tony Arnold, who has made her mark in the most uncompromising
pieces in the modern repertory, has quickly become a favorite of
'new music' devotees in Western New York. Her deep emotional involvement
in the performance generated a level of excitement that brought
Time Cycle back to life.
"Arnold used her huge range of tone color to great effect, whether she
was filling the room with her surprisingly large voice or dropping
down to the level of a whisper. She fully brought out the slightly
crazed anguish in the selection from Kafka's Diaries, while
conveying a tone of overwhelming world weariness in the Nietzsche
poem."
Chico News & Review • 5
December 2002
George Crumb: Madrigals • Bridge Ensemble
". . .Crumb's totally engaging collection of sound-images
[included] syllables bounced about by Ms. Arnold's exquisitely
accurate soprano voice. . ."
New York Times • 15 October
2002
Milton Babbitt: Quatrains • Fred Sherry
& Friends
"Babbitt's own Quatrains – music for
two clarinets darting around a vocal line like physicians examining
a healthy patient – was delectably done by Mr. Neidich, Ms.
Oshima and the soprano Tony Arnold."
Buffalo News • 11 September
2002
Luciano Berio: Folk Songs • Slee Sinfonietta
"Tony Arnold radiated grace and good humor. She has a lovely,
light-timbred soprano, and her diction is beautiful. Most importantly
for the songs at hand, her voice sounds natural. Even when singing
something that must be terribly difficult, she tosses it off as
if it's not much trouble at all.
"She faced more than a few challenges. One song required
her to sing 'Lalalalalalalalalala,' so fast that it was almost a
vibration, for what seemed like 10 or 15 seconds on end. (I was
too amazed to count.) You can't tell me everyone didn't try that
in the car on the way home. The Azerbaijan Love Song, which
ended the cycle, was a lilting piece full of trills. It was dazzling.
"That song brings me to what struck me most about the Folk
Songs which is the sheer joy of them. This is music that has
to be seen to be believed. By Azerbaijan Love Song, the
orchestra members were smiling at each other, catching each other's
eye, moving to the rhythm. Arnold's eyes were sparkling, too. She
swayed, arched her eyebrows, threw herself into the tune. Happiness
was all around, joy in the music and also in the world's diversity."
Buffalo News • 6 June 2002
Concert with Slee Sinfonietta at the
June in Buffalo Festival
Something to Talk About
"In Song Offerings by Jonathan Harvey, Arnold demonstrated
an ability to rapidly change character as demanded by the music.
The pure, seductive sound quality of her voice was immediately apparent
in these songs of a woman giving voice to her most intimate feelings.
"Following a performance of John Harbison's Mirabai Songs
last year by Dawn Upshaw, one critic remarked that she 'virtually
owned' the work. After hearing Tony Arnold's vivid realization of
the piece, one might want to argue that its ownership is very much
up for grabs. With her focused vocal projection and her ability
to shade a phrase, Arnold breathed genuine life into these poems
of religious ecstasy.
"In Canti Lunatici by Bernard Rands, Arnold returned
in a tour de force that had her humming, singing, whispering and
declaiming the words of fifteen poems in four different languages.
Arnold's dramatic ability was very much to the fore, as she used
her agile voice to hold the piece together."
Chicago Sun-Times • 29 April
2002
Mario Davidovsky: Romancero • MusicNOW
"Moving with impeccable precision through the angular leaps
and unpredictable melodic turns of Davidovsky's song cycle Romancero,
soprano Tony Arnold brought witty seductiveness to the opening song.
But accompanied by a small ensemble, her austere Sad was King
David was moving, each carefully shaped note glowing like a
teardrop in the slow, widely spaced melody."
Chicago Tribune • 8 April
2002
Songs of Weill, Eisler, and C.
Berg • Jacob Greenberg, piano
"Tony Arnold sang with a nice combination of fire and ice."
Chicago Sun-Times • 8 April
2002
Songs of Weill, Eisler, and C. Berg • Jacob
Greenberg, piano
"Arnold
mixed just the right amount of cynicism and innocence in settings
of three Frank O'Hara poems by Christopher
Berg. . .
She was equally fine in Hans Eissler's settings of several bitter
Bertold Brecht poems. In Weill's well-known Suyrabaya
Johnny, her sweet soprano created an image of youthful
vulnerability rather than world-weary disillusionment."
Pioneer Press • 7 March
2002
Songs of Robert Kritz and Rachmaninov
• Highland Park Strings
"Arnold's gleaming voice wrapped around the composer's long
lines, her diction was superb and she clearly relished performing.
. . Arnold then easily navigated Rachmaninov's Vocalise,
and the strings accompanied her with distinction."
De Telegraaf (Rotterdam) • 6
March 2001
Gaudeamus Interpreters Competition •Jacob
Greenberg, piano
"Arnold has a very strong theatrical presence, a beautiful
and big voice, and knows how to get the intention of the text across.
She accomplished all with great sense of drama. Her sublime breathing
technique gave a feeling of brilliant spaciousness in beautiful,
perfectly in tune, sustained and intensifying notes, using it all
to build long suspended phrases."
Rotterdams Dagblad • 5 March 2001
Gaudeamus Interpreters Competition • Jacob
Greenberg, piano
"Beautiful voice, very gutsy and fantastic technique."
NRC Handelsblad (Netherlands) • 5
March 2001
Gaudeamus Interpreters Competition • Jacob
Greenberg, piano
"Tony Arnold offered a beautifully smooth and even sound...remarkably
relaxed and accurate."
Hyde Park Herald • 29 March
2000
Lita Grier: Three Song Portraits • Ars
Viva String Quartet
"Three Song Portraits were sung with verve and
beautiful lyricism by soprano Tony Arnold. . . Arnold was spot-on
with her spoken word conclusion. Throughout, Arnold's fresh, clear
voice with subtle shadings was the perfect vehicle for this small
collection of songs."
Chicago Tribune • 21 January
1997
Lita Grier: Three Song Portraits • Ars
Viva String Quartet
"Tony Arnold's crisp and characterful performance brought out
all the atmosphere and piquant wit."
screecher features
Oberlin Conservatory Magazine • May 2003
feature
article about Bridge Records' George Crumb Edition
Buffalo News • 2
June 2002
feature article about June in Buffalo new music festival
Oberlin Conservatory Magazine • January 2002
feature
article and alumna spotlight
Oberlin Online • April 2001
feature
article about Gaudeamus Interpreters Competition
Oberlin Online • February 2000
preview
of World Premiere Performance of Pauline Oliveros:Elemental
Gallop
Oberlin Online • November 1999
preview
of the Richard Hoffman Tribute Concert
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