Noelle McMurtry, soprano, has established herself as a versatile and expressive vocal performer, researcher, concert curator, and musicologist, who employs her interdisciplinary background in service of inclusive storytelling. She engages with genre-bending music-theater projects that explore diverse and underrepresented feminist perspectives to question and re-contextualize the canon.
Calendar
Snapshots
News
In "Trois Mélodies, op. 91," I wondered how composer Mel Bonis truly felt as she set Maurice Bouchor's poetry, texts which outline the poet's desire for an unattainable beloved.
In composer Margaret Bonds’ setting of poet Edna St. Vincent Millay’s “Hyacinth,” we encounter an unflinching intersectional feminist portrait of the ever-shifting dynamics between gender, power, and love.
Through virtually recording Melissa Dunphy's "June" in the midst of the COVID-19 pandemic, I confronted long-held insecurities around technology by learning how to sing with myself.
In Lacy Rose's cycles "Ria" and "Hope I," the composer humanizes through song the models of painter Gustav Klimt: the women within the portraits.
Suffragist Series highlights the fascinating suffrage activists that I researched as dramaturg for A Women's Suffrage Splendiferous Extravaganza! (AWSSE!), including writer, educator, and civil rights activist Mary Church Terrell (1863-1954).
In the Pleiades Project film "German Romantics: Clara," we explore the musical and romantic partnership between composers Clara and Robert Schumann that produced Clara's Lieder Op. 12.
Despite intense self-doubt and familial pressure to forego publication, the 1846 publication of Fanny Mendelssohn Hensel's "Sechs Lieder, op. 1" represents the composer's assertion of a public and professional identity.
I explore the myth of Semele, a woman on fire, in its many visual and musical permutations, including historical portraits and Élisabeth Jacquet de La Guerre's 1715 biblical cantata "Semelé."
Jessica Krash's "Sulpicia Songs" (2015) for voice and piano counters the sexist narrative that Sulpicia, an ancient Roman noblewoman, did not write six love elegies in the "Corpus Tibullianum."
Through Francis Poulenc's 1937 song set "Trois Poèmes de Louise de Vilmorin," I intertwine the artistic visions of painter Gwen John (1876-1936) and poet Louise de Vilmorin (1902-1969), whose historical narratives have focused more on their romantic affairs than their artistic expression.
Don’t Miss Updates!
While you can access all of She Is Song here on my website, I manage subscriptions through Substack. Subscribe now to receive my newest post once a month, right in your inbox. It’s free!
