Resonant Bodies Festival Announces NYC 2019 Lineup
“A festival suffused with purpose and ambition.” ResBods returns to Brooklyn’s Roulette Intermedium for its 7th annual festival this September 3-5, 2019. Featured artists include Kate Soper, Arooj Aftab, Anthony Roth Costanzo, and Charmaine Lee with guest artists Conrad Tao, Vijay Iyer, Wet Ink Ensemble, Ashley Bathgate.
May 29, 2019
DETAILS
NYC 2019 RESONANT BODIES FESTIVAL
Roulette | 509 Atlantic Ave | Brooklyn, NY 11217
FESTIVAL PRICING
$50 Festival Pass for all three nights
$75 Superfan Festival Pass includes VIP seating + drink ticket
PER NIGHT PRICING
Presale tickets: $20 standard; $30 Superfan presale with VIP seating + drink ticket
Door tickets: $20 student; $25 general
““In equal measures intelligent, playful, ambitious and moving, the program illuminated the shape-shifting power of the human voice.” ”
That intoxicating review of the inaugural Resonant Bodies Festival in 2013 marked its arrival as an immediately valuable contributor to the city’s music scene. The festival has since evolved into something akin to New York Fashion Week for the new music set, offering a chance for buck-the-trendsetters to experience the high-energy epicenter of experimental vocal music.
The flagship festival returns to Roulette this September 3-5, kicking off the concert season with three fast-paced nights of vocal luminaries and artistic renegades converging in the best “see and be seen” creative energy New York has to offer.
LINEUP
September 3
Charmaine Lee • Anthony Roth Costanzo • Jane Sheldon
September 4
Anaïs Maviel • Kate Soper • Ted Hearne
September 5
Stephanie Blythe • Arooj Aftab • Erin Gee
"From Song Came Symphony" is 'A Wide-Ranging Night of African-American Music Served up with Fire And Feeling'
The Burleigh Society and Urban Playground Chamber Orchestra co-production “landed with earth-shattering force.”
May 9, 2019
Photo by Richard Burrowes, International Center of Photography alum
“From Song Came Symphony,” a co-production of the Harry T. Burleigh Society and Urban Playground Chamber Orchestra, has earned critical acclaim. The performance, tracing the symphonic influence of Burleigh’s compositions, included the NYC premiere of Florence Price’s Violin Concerto No. 2 and William Grant Still’s rarely heard oratorio And They Lynched Him on A Tree.
““The baleful concluding oracle landing with earth-shattering force.””
The New York Classical Review praised Still’s piece, saying it “does indeed still pack a wallop” as it “provides a new context for Still’s account of a black life that mattered, and his fervent words of warning at the end.”
San Francisco Classical Voice hailed Burleigh as a “titanic figure in U.S. music history,” praising the performance of his “work’s deft inner voices with great clarity” and the “rich and seamless sound” of the orchestra’s string section. In the Price Concerto, “Kelly Hall-Tompkins covered the solo part with unflappable poise, bringing a luscious radiance to her lower register. The orchestra swooned and incandesced with theatrical fervor.”
Read the full review from New York Classical Review >
Read the full review from San Francisco Classical Voice >
Harry T. Burleigh's 'Pioneering Influence' Recognized by All Arts
“Organizers have sought to recognize creators who unflinchingly detailed Black experiences despite the risk of offending a powerful white establishment.” An All Arts preview examines the influence of Harry T. Burleigh on generations of African American classical musicians.
May 3, 2019
Photo by Shateek Mitchell, International Center of Photography alum
““’Burleigh wrote music that was both immediately recognizable to the ear as having African-American music idiom influence — and music that was not,’ explained Marti Slaten, the executive director of the Harry T. Burleigh Society. She said his success in skirting that delicate line between two seemingly disparate genres created space not only for him, but also for future generations of Black artists and creatives.””
Ahead of their May 8 concert at the Schomburg Center for Research in Black Culture, the Harry T. Burleigh Society spoke with All Arts about their second collaboration with the Urban Playground Chamber Orchestra.
The concert, to include the NYC premiere of Florence Price’s Violin Concerto No. 2, and the rarely performed William Grant Still oratorio And They Lynched Him on A Tree, is designed to showcase symphonic composers influenced by Burleigh’s work.
All Arts wrote that the concert will “recognize creators who unflinchingly detailed Black experiences despite the risk of offending a powerful white establishment.”
Read the preview >
Burleigh Society Concert at Carnegie Hall Praised for Performance, Promise
“A stinging rebuke to still-active demeaning stereotypes that cast black people as sassy, loud, and unrefined.” The Harry T. Burleigh Society concert, featuring the Fisk Jubilee Singers, earned critical acclaim from the Log Journal.
March 6, 2019
Photo by Sara Beth Turner
““Burleigh’s spiritual arrangements are artful and jewel-like, deftly weaving voices into a seamless texture [with] aching suspensions and rich, surprising dissonances…””
The March 2 Harry T. Burleigh Society concert at Carnegie Hall, featuring the Fisk Jubilee Singers, earned critical acclaim from the Log Journal.
“While it would technically be accurate to call the Jubilee Singers a college a cappella ensemble, the designation does not do them justice. They sing, with uncanny precision, in a plush bel canto style… It allowed for the haunting, otherworldly conclusion to In Bright Mansions. In a haloed murmur, the basses sang a repeating descending figure, lingering on each note that rubbed against the diaphanous held chord in the upper voices – a frisson of quiet ecstasy, a premonition of Heaven."
“Wade in the Water is…a pungent, brooding arrangement of a tune laced with buried, righteous anger. In the quiet, refined style of the Fisk Singers, it was hair-raising. Other songs affirmed the necessity of hope, promising Heaven as a release from literal bondage; Wade in the Water affirmed the necessity of justice, promising a reckoning far too long overdue.”