Lily/LUNG – October 11-14, 2018

Lily/LUNG – October 11-14, 2018

Lily/LUNG
October 11-14, 2018

Erickson Theatre Off Broadway
Seattle, WA

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Karin Stevens and composer/sound artist Kaley Lane Eaton present an evening of two works: a reproduction of the award-winning Lily, and the premiere of LUNG. Together these pieces explore issues of migration, connection, and finding one’s voice in the world today.

Watch the first iteration of the work performed June 2017

Lily [bloom in darkness] is a 35-minute electroacoustic opera for voice, live electronic processing, pulse sensors, violas, saxophone doubling clarinet, harp, and dance, with an original libretto by poet Felicia Klingenberg. Lily explores the psyche and heart of Lily Isabel Bunny, an orphan who fled England at the start of WWI. Through imagining a dream Lily may have had her first night sleeping in a cabin in the Pacific Northwest wilderness, this work examines her transformation upon entering a new world, exploring the experience of migration and displacement uniting our species.

LUNG is a collaborative work for dancers, musicians (bass flute, tenor saxophone, concert harp, two violas, and trumpet), six loudspeakers, and audience exploring the process of finding one’s voice as both individuals and communities. Loudspeakers punctuate the space, laid out as a room-sized version of the respiratory system. Musicians and dancers move through the space as breath moves through the body when preparing to speak, and the audience is invited to follow, experiencing sounds from a variety of perspectives.

Stevens and Eaton seek to unlock the voices of the marginalized to tell the true stories of our time for posterity. Through both personal experience and observations of society, they understand that the voice can get caught deep in the lungs, never to escape and proclaim itself. But when the winning breath is taken – with help from those around us – the voice explodes in ecstasy, telling lost stories, and freeing the body.

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Photo: Shaya Bendix Lyon

Dr. Kaley Lane Eaton is a composer and soprano currently based in Seattle, WA. Her work has been performed across the US and internationally, in venues ranging from Hong Kong concert halls, to the streets of Skid Row in Los Angeles. Eaton’s work crosses genre boundaries, exploring how the voice, body, and unconscious world of the performer can provide musical narratives through live digital processing, machine listening, sensors, and improvisation. Her “startling,” “intriguing,” “fresh,” and “thoughtful” compositions are quickly gaining notoriety for combining innovative digital technology with ancient performance practices. As a soprano, she is sought after for her lively and creative interpretations of 20th century music, especially in collaboration with living composers.

In addition to frequently performing her own work in bars, concert halls, and living rooms, she is an avid cross-disciplinary collaborator. Recent collaborations include Karin Stevens Dance, Mazumal (cellist Olivia J.P. Harris and soprano Felicia Chen), flutist Leanna Keithforty/sixtyStrange Interlude, violist Heather Bentley, and saxophonist Steve Treseler. She has been awarded residencies at the Atlantic Center for the Arts (2017 associate artist with master artist Derek Bermel) and the Hambidge Center for Creative Arts and Sciences (2017) where she was awarded the distinguished Holland and Knight Fellowship. Her electroacoustic opera lily [bloom in my darkness], featuring an original libretto by Canadian author felicia klingenberg and choreography by Karin Stevens, premiered in June 2017 with the support of 4Culture’s Tech Specific Grant Programlily is also the recipient of the 2017 International Alliance for Women In Music’s Pauline Oliveros New Genre prize for works exploring electroacoustic media and innovative form and style. It will be produced again in Fall 2018 with Karin Stevens Dance and the Universal Language Project alongside her new work LUNG for 6 loudspeakers, interactive electronics, dancers and large ensemble.

With flutist Leanna Keith, Eaton is co-founder of Stack Effect, a flute and voice duo. Also with Keith and violist Heather Bentley, Eaton co-directs Kin of the Moon, an improvisation-centric and technology-friendly chamber music series in Seattle. Both Stack Effect and Kin of the Moon have enjoyed recent features at new music festivals such as Oh My Ears! in Phoenix,  NUMUS NW in Seattle, and the National Flute Association Convention.

As a writer with particular interest in the role of musical composition’s relationship to our larger culture, Eaton has been published by KING FM’s Second Inversion (“Women, Creativity, and the Classroom” (2016) and “Reflections on Wilderness” (2017)) and Common Tone Arts (“Things I wish I had known when I thought I couldn’t be a composer” (2017)).

Eaton holds a DMA in composition from the University of Washington and teaches at Seattle Pacific University.

Photo: Julie Shuford Photography

Strange Interlude

Currently based in the Los Angeles area, Strange Interlude was founded by harpist Lily Press and cellist Simon Linn-Gerstein who have been performing as a harp and cello duo since 2007. As both a duo and larger ensemble Press and Linn-Gerstein design intimate salon-style concerts with programs that are carefully curated to include seldom-performed works, pieces by contemporary composers and transcriptions and arrangements for their unique instrumentation.

Strange Interlude’s performances combine their love of chamber music with their passion for crafting non-traditional concert experiences that incorporate story-telling to bring the audience further inside the works they play and the technical, artistic and personal process of making a piece of music come alive.

Strange Interlude has performed as part of the Advent Library Chamber Series, the Nave Music Series, the Salem Arts Festival, the Candlelight Concert Series and at ArtShare LA and Spectrum NYC and has also created music for performances by Monkeyhouse, a Boston-based dance company, and for the Dance Department at Endicott College. They have collaborated with numerous composers to premiere new works for harp and cello, including Daniel Lemer’s “Lone Tree Music,” Mike Frengel’s “On Thin Ice,” and Kaley Lane Eaton’s “subtle energy.”

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