Composer-performer Angélica Negrón talks to Olivia Giovetti about ‘Chimera,’ her new opera for drag-queen performers, portions of which will premiere during the FERUS Festival at National Sawdust.
About Olivia Giovetti
Olivia Giovetti has written for the Washington Post, Lit Hub, Electric Literature, The Millions, NPR, and VAN. She's formerly served on staff at Time Out New York and WNYC, and her writing has also been heard onstage at the Brooklyn Academy of Music as part of the Next Wave Festival.
Entries by Olivia Giovetti
Where are we going? And what are we doing? Those questions and more, Olivia Giovetti reports, resonated throughout a concert by Adam Tendler and Tenth Intervention at the Rubin Museum of Art.
Left unfinished when composer Matt Marks died, ‘Words on the Street’ – running through Nov. 4 at Baruch Perorming Arts Center – finds his mission carried forward by a community he helped to build.
Improvising cellist and composer Leila Bordreuil speaks to Olivia Giovetti about her creative practice, her interest in the sensory force of sound, and upcoming projects at Issue Project Room and the Kitchen.
Pondering the Resonant Bodies Festival presented at Roulette Sept. 11-13, Olivia Giovetti wonders whether it’s possible for Americans in 2018 to come together in a state of listening.
Reflecting on the world premiere of ‘In the Name of the Earth’ during Lincoln Center’s Mostly Mozart Festival, Olivia Giovetti considers method and motivation in the music of John Luther Adams.
Olivia Giovetti plumbs history, mystery, materiality, and more to evoke Ashley Fure’s ‘The Force of Things,’ presented by the International Contemporary Ensemble for Lincoln Center’s Mostly Mozart Festival.
“No why. Just here.” I first came across the Cage quote shortly before I started meditating, a practice that I’d adopted initially out of the need to give myself some space from my work in the music industry. When I started practicing at MNDFL, a Greenwich Village studio that offers classes based around different branches of mindfulness, an offering of sound-based practice seemed counterintuitive to someone whose livelihood depended on sound.