New Moon is an album of art songs honoring American women composers. Celebrating these unique voices in the art song repertoire feels like the perfect culmination to 10 years of intentional programming by Calliope’s Call with an aim to uplift and promote underrepresented voices.

American composer Sarah Hutchings (b. 1984) writes for multiple genres and mediums representing the new generation of composers breaking into classical and commercial worlds. The text of her piece, The Dream of the Moon is a reimagining of poetry by the Persian lyric poet Hafiz. Throughout the five songs we find themes of love, flirtation, passion, jealousy, and longing. Hutchings’ music is full of long lyrical vocal lines that soar above intricate piano writing that includes motifs of undulating waves, unexpected harmonies, and alluring text painting. Hutchings creates a specific mood that is potently felt by the listener during each song, taking us on an enticing journey through the five-song cycle.

Valentines from Amherst came to us through our inaugural Call for Scores competition in 2016. That first Call for Scores was eye-opening. We were an unknown organization blindly advertising a competition for composers and we received over 40 excellent submissions by female composers. When we heard Valentines from Amherst, we knew we were going to perform this set when it could have a special feature. Giving this set a place on our debut album felt like an appropriate way to honor this composer whose settings of New England’s beloved Emily Dickinson will captivate you from the first chords of “Come slowly, Eden,” to the melancholic “Nobody Knows This Little Rose,” to the grand and sweeping pronouncements of “My River Runs to Thee.”

Composed in 1924, Four Poems is a set of four songs composed by the supremely talented and influential 20th century American composer Marion Bauer, with texts by American poet John Gould Fletcher. Although relatively unknown to modern audiences, in 1947 Bauer became the second woman ever to have a work performed by the New York Philharmonic. In addition to being a composer, she was a music professor, author, music critic, and fierce champion of new music during her time. Fletcher is considered by many literary scholars to be one of the most innovative 20^th century poets. His poetry drew from such varied sources as the Imagist movement, French Symbolism, Oriental art and philosophy, and humanity's relation to nature. The poems in this set are filled with detailed descriptions of the natural world. Bauer sets this riveting poetry expertly, employing gorgeous melodic writing in the voice that is paired with virtuosic piano writing imbued with detailed text painting.

Libby Larsen is touted for being one of “America’s most performed living composers.” In addition to her prolific catalog of works, she is dedicated to supporting and guiding the next generation of composers. She also has the distinction of being the first female composer that Calliope’s Call included on one of our earliest programs. These songs in Love after 1950 expertly capture all the twinges, excitements, and heartaches of modern love told by some of the world’s most distinguished female poets: Rita Dove, Julie Kane, Kathryn Daniels, Liz Lochhead, and Muriel Rukeyser.

Finally, we end with a beloved Irish ballad, “The Parting Glass,” arranged for two unaccompanied voices by American composer, Gilda Lyons. This beautiful duet expresses sentiments of farewell, longing, and nostalgia for loved ones departing on a journey. As we conclude the first decade of Calliope’s Call, we are reflecting on the incredible journey we’ve been on these past 10 years and are filled with immense gratitude for you, dear listeners.

Evangelia Leontis, soprano, has performed extensively on the opera, concert and recital stages. She has been seen on the operatic stage in roles including Woglinde in Das Rheingold, Susanna in Le Nozze di Figaro, Zerlina in Don Giovanni, Frasquita in Carmen, Gretel in Hansel and Gretel, Lucy in The Telephone, and Le Feu in L'Enfant et les Sortilèges with companies including Barn Opera, Tundi Productions, MassOpera, Opera del West, Longwood Opera, Riverside Theater Works, Odyssey Opera, and Opera Boston.

On the concert stage, Dr. Leontis has been the soprano soloist in works by Berlioz, Britten, Handel, Haydn, Fauré, Rossini, Bach, Bizet, Mozart, Grieg, Orff, and Vaughan Williams with ensembles including Albany Pro Musica, the Keene Chorale, Greensboro Opera, the Greensboro Oratorio Society, the Newburyport Choral Society, Newton Choral Society, Clear Lakes Chorale, and Polymnia Choral Society.

She holds the degree of Doctor of Musical Arts from UNC Greensboro, a Master of Music degree in vocal performance from Boston University, and a Bachelors of Music degree in vocal performance from the Eastman School of Music. Dr. Leontis currently serves on the voice faculties of Keene State College and Vermont State University. Also an avid proponent of art song, she serves as Administrative Director of Calliope’s Call. She lives in beautiful southern Vermont with her husband, twin toddler daughters, and dog. More information can be found at evangelialeontis.com.

 

Renowned for her compelling characterizations and dynamic vocal range, mezzo-soprano Megan Roth captivates audiences across a diverse spectrum of musical genres, from opera and oratorio to art song and chamber music. With a repertoire spanning centuries, Megan is equally at home in both early and contemporary works.

In her recent portrayal of Tisbe in La Cenerentola with Boston Midsummer Opera, Megan garnered praise for her captivating stage presence, described as "smoldering" and "bringing the angry coloratura across the footlights with comic menace," earning accolades for her nuanced performance. Her versatility was further showcased in her portrayal of Despina in excerpts of Cosi fan tutte, marking the company's triumphant return to live performances post-pandemic. Megan's concert engagements have seen her as a soloist in a wide array of masterpieces, including works by Copland, Handel, Bach, Gretchaninov, de Falla, Mozart, Vivaldi, and Duruflé. As a chamber musician, she collaborates with esteemed ensembles such as the GRAMMY® nominated Skylark Vocal Ensemble, Yale Choral Artists, and Cincinnati Vocal Arts Ensemble, among others.

Beyond her vocal prowess, Megan is also a skilled violinist, highlighted by her featured solo on the 2021 GRAMMY® nominated album It’s a Long Way with Skylark Vocal Ensemble. Additionally, she is the visionary founder and artistic director of Calliope’s Call, a distinguished art song performance group based in New England, committed to presenting innovative programs showcasing both contemporary and traditional composers.
For more information, visit www.meganroth.com.

 

Pianist, JJ Penna has performed extensively with a variety of eminent singers, including Kathleen Battle, Harolyn Blackwell, Measha Brueggergosman, Denyce Graves, Ying Huang, Susan Narucki, Roberta Peters, Florence Quivar, and Andreas Scholl. He has held fellowships at the Tanglewood Music Center, Banff Center, Norfolk Chamber Music Festival, Music Academy of the West, and San Francisco Opera’s Merola Opera Program.

He received his training under Martin Katz, Margo Garrett, and Diane Richardson. Devoted to the teaching of classical song literature, he has been on the faculties of The Juilliard School, the Norfolk Chamber Music Festival, the Bowdoin Festival, Westminster Choir College, the Renée Fleming Song Studio, and Vancouver International Song Institute.

He currently teaches at the Yale University School of Music, The New England Conservatory, and the Steans institute of the Ravinia Festival.