A very…different…kind of duo: polar opposites, but somehow best friends, delightfully mismatched singers Lucy Dhegrae and Ariadne Greif are unveiling a new project that has one foot in contemporary music and the other in performance.

Projected repertoire includes your next piece for high mezzo/icy genius straight-man, loud soprano/wildcard, and fixed media, as well as an irreverent comedic take on Letter Pieces by Matthew Shlomowitz, a heretical noir detective-inspired interpretation of Bach’s “Flösst, mein Heiland” from the Christmas Oratorio, a forthcoming piece for voices and tape by Sheree Clement, and a future children’s opera by Ryan Chase.

The duo made a soft (very pp) debut at So Percussion’s Brooklyn Bound series in September 2018.

Lucy Dhegrae

{Lucy (LOO-see) Dhegrae (duh-GRAY)}

“Vocal versatility and an omnivorous curiosity” (New York Times) are the hallmarks of mezzo-soprano Lucy Dhegrae, a passionate vocalist with a flexible technique that fits a variety of styles. She has performed with the International Contemporary Ensemble (ICE), Talea Ensemble, the Albany Symphony, among others, at such venues as Miller Theatre, Lincoln Center, and the Kennedy Center.

Dhegrae, who is “everywhere new music is being sung” (New York Classical Review) regularly premieres new vocal works and operas, and has worked closely with such composers as Unsuk Chin, Jason Eckardt, Susan Botti, Alexandra Vrebalov, and Sky Macklay. Her opera premieres include Trillium J by Anthony Braxton, Andy: A Popera (Opera Philadelphia/Bearded Ladies Cabaret), A Marvelous Order by Judd Greenstein, and Ashley Fure’s The Force of Things. Dhegrae’s festival appearances include Darmstadt (Germany), Klangspuren (Austria), Mostly Mozart, Bard Music Festival, Gesher Music Festival (St. Louis), and Aldeburgh Music Festival (as a Britten-Pears Young Artist).

Dhegrae is the 2018 recipient of University of Michigan School of Music’s Emerging Artist Award, and among the first cohort of fellows with Turn the Spotlight, a new mentorship program for young professionals. As “adventurous mezzo-soprano” and “raconteur” (The New Yorker) she directs Resonant Bodies Festival,  an international presenter of boundary-pushing contemporary music vocalists, which she founded in 2013. She has taught at SoundSCAPE (Cesena, Italy), Banff Centre (Alberta, Canada), and Bard College Conservatory’s Graduate Vocal Arts Program; and has been invited to present lectures at Northwestern University’s Bienen School of Music, CUNY’s Graduate Center, NYU, and William Paterson University. She graduated from the Bard College Conservatory Graduate Vocal Arts Program (MM in Vocal Performance ’12) as well as the University of Michigan School of Music, Theatre, and Dance (BM in Vocal Performance '08) and is a core member of the new music ensemble Contemporaneous.

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Ariadne Greif

{Ariadne (ah-ree-ODD-nay) Greif (GRAJF)}

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.”

She began this season with a “soaring...spine-chilling” staged recital in Australia with the Sydney Chamber Opera at the 2018 Resonant Bodies Festival (Sydney Arts Guide), and performances with William Kentridge of the Dada masterpiece Ursonate at Den Norske Opera as part of the Ultima Festival in in Oslo. Recent performances have included Mahler Symphony No. 4, Carmina Burana, Beethoven Symphony No. 9, Mozart Requiem, Mozart Vespers K.321, Bach Wedding Cantata, Mozart, Mendelssohn, and Haydn concert arias, Babbit’s A Solo Requiem, opera gala concerts at the Sarasota Opera House, and role debuts as Musetta in La Bohème with The Greater Bridgeport Symphony and Papagena in The Magic Flute with The Orlando Philharmonic. In the past three seasons she has premiered several new operas, and performed concerts of chamber music in Weill Hall, Le Poisson Rouge, Merkin Hall, across the US, and in Canada, France, Finland, and the Middle East, in appearances with Lukas Ligeti, Gabriel Kahane, William Kentridge, Doug Fitch, The Knights, Ensemble Mélange, The Northwest Sinfonietta, and the Alterity Chamber Orchestra, among others. She has premiered over fifty new works and more than a dozen new operas, and has created a twenty-composer commissioning project of her own, called Dreams & Nightmares, subject of a forthcoming documentary called Only a Dream.

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