Search

Follow us

          YouTube  News & Updates

November 30, 2016

WOMEN IN SONG AT THE PLAZA LIVE FEATURES ARIADNE GREIF, SARA WATKINS AND AOIFE O’DONOVAN

New concert series features Indie Folk, Indie Rock, Blue Grass, Folk, Country, and Classical Music with members of the Orlando Philharmonic



(October 26, 2016) – Orlando, FL – The Orlando Philharmonic Orchestra announced a new series called Women In Song at The Plaza Live featuring Ariadne Greif on November 29, Sara Watkins on February 1, 2017 and Aoife O’Donovan on March 1, 2017. All concerts begin at 8 p.m.

“From operatic to indie rock to folk and pop, these concerts feature some of the greatest talents of today performing works of their own and covers of others amazing artists,” said Eric Jacobsen, Orlando Philharmonic music director.



The first concert in the series takes place in the 200-seat theater at The Plaza Live for a more intimate experience and features Greif, songs by Schubert and Dvorak, as well as poetry by Walt Whitman underscored by the Orlando Philharmonic Orchestra. Eric Jacobsen will play cello on several pieces. It is a 60-minute performance with no intermission and a bar-hang immediately following the performance.

Tickets are $22 in advance per concert and $27 at the door per concert. Special discount  pricing is offered when purchasing all three concerts. For more information, please visit www.OrlandoPhil.org

About the Artists:
ARIADNE GREIF
, praised for her "luminous, expressive voice" (NYTimes), her "elastic and round high notes" (classiqueinfo), and her "mesmerizing stage presence" (East Anglian Daily Times), began her opera career as a ‘boy’ soprano in the Los Angeles area and at the LA Opera, eventually making an adult debut singing Lutoslawski’s Chantefleurs et Chantefables with the American Symphony Orchestra.

She starred in roles ranging from Therese/Tirésias in Poulenc’s Les Mamelles de Tirésias, singing a “thoroughly commanding and effortless” run at the Aldeburgh Festival, to Sappho in Atthis by Georg Friedrich Haas, for which the New York Times noted her “searing top notes,” and “dusky depths,” calling it “a solo high-wire act for Ms. Greif,” “a vehicle for Ms. Greif’s raw, no-holds-barred performance,” “one of the most searingly painful and revealing operatic performances in recent times.”

A champion of new music since her teens, she has premiered over fifty large-scale pieces and a half-dozen new operas, which most recently included Yaga the Witch in Matti Kovler’s Ami & Tami, where she played a villain for the first time, and a nameless main role in Gabrielle Herbst’s disturbing masterpiece BODILESS. Though the opera is hardly ‘new’ at a hundred years old, Ariadne sang the main female role, Lady Madeline, in the US premiere of Debussy’s unfinished opera La Chute de la Maison Usher in its most complete form,with the Opera Français de New York. 

Sara Watkins
“This is a breakup album with myself...” says Sara Watkins of her third solo record, Young in All the Wrong Ways. Writing and recording these ten intensely soul-baring songs was a means for her to process and mark the last couple years, which have been transformative. “I looked around and realized that in many ways I wasn’t who or where I wanted to be. It’s been a process of letting go and leaving behind patterns and relationships and in some cases how I’ve considered myself. What these songs are documenting is the turmoil you feel when you know something has to change and you’re grappling with what that means. It means you’re losing something and moving forward into the unknown.”

That sense of possibility infuses the songs on Young in All the Wrong Ways with a fierce and flinty resolve, which makes this her most powerful and revealing album to date. In some ways it’s a vivid distillation of the omnivorous folk-pop-bluegrass-indie-everything-else Watkins made with Nickel Creek, yet she makes audacious jumps that push against expectations in unexpected ways. These songs contain some of the heaviest moments of her career, with eruptions of thrumming B3 organ and jagged electric guitar. But it’s also quiet, vulnerable, tenderhearted. In other words, bold in all the right ways.

Aoife O’Donovan
Aoife O’Donovan’s sophomore album, In the Magic Hour — produced by Tucker Martine (The Decemberists, Neko Case) — is a 10-song album full of the singer’s honeyed vocals mixed with gauzy, frictionless sounds: splashing cymbals, airy harmonies, the leisurely baritone musings of an electric guitar. Written in the wake of O’Donovan’s grandfather’s death, In the Magic Hour is her most introspective effort yet, an aching exploration of memory and mortality.

For a decade, O’Donovan wielded her instrument with tensile strength as the captivating lead singer of the Boston-based progressive string band Crooked Still. She was a featured vocalist on “The Goat Rodeo Sessions,” the Grammy-winning album by Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile, has made regular appearances on A Prairie Home Companion and collaborated with some of the most eminent names in music across a wide variety of genres from Alison Krauss to Dave Douglas.

In 2013 O’Donovan released her debut solo album, Fossils, a moody collection of original songs with a country lilt. The album garnered praise from The New York Times and Rolling Stone, while The Guardian deemed O’Donovan the “next Americana celebrity.” Most recently O’Donovan has lent her voice to the folk trio I’m With Her with singers Sara Watkins (Nickel Creek) and Sarah Jarosz.

Now in its 24th season, The Orlando Philharmonic is Central Florida’s professional orchestra, comprised of accomplished musicians recruited from around the world. Presenting over 125 events each year, the orchestra provides captivating musical experiences and education programs to people of all ages, and is committed to building rich, sustainable future for symphonic music in Central Florida. Learn more at OrlandoPhil.org.

SOCIAL MEDIA LINKS
Orlando Philharmonic (@OrlandoPhilOrch):  Website  |  Facebook  |  Twitter  |  Instagram