Sauvez-moi de l’amour (Save me from love) examines what it means to love and be loved in return. With vocal chamber music repertoire ranging from the Medieval era until the present day, we explore love in its many forms: romantic, platonic, sacred, etc. Within this diverse spectrum of time, place, composer, poet, and musical genre, an overarching theme emerges: the conflict between our idealizations of love versus the reality of loving; how our imaginings of love seemingly align and conflict with our lived experiences of loving another human being. Vocal chamber music, with the intertwining of human voices, seems a most worthy platform to explore this topic.
Sauvez-moi de l’amour serves as the final recital of my DMA degree, and I was excited to collaborate with Julie Bosworth (voice), Hui-Chuan Chen (piano), Alix Evans (medieval harp), Bonnie Lander (voice), and Claire Galloway Weber (voice). Together, we interpreted a medieval canso by trobairitz Comtessa Beatriz de Dia (c.1140-c.1212), excerpts from Love Fail by David Lang (b.1957), vocal duets and trios by German composer Luise Adolpha Le Beau (1850-1927), mélodies by French composer Mel Bonis (1858-1937), and madrigals by composers Maddalena Casulana (c.1544-1641) and Caroline Shaw (b.1982).
Scottish-American soprano Claire Galloway’s theatricality covers the gamut of “palpable pain” and “splendid, funny moments” (B.I.T.R.). This season she is a featured artist with Baltimore Musicales, is the soprano soloist in Brahms’s Ein deutsches Requiem, and premieres the roles of Mathilde Schechter and Miriam in Arnold Saltzman’s Geniza: Hidden Fragments with the Chesapeake Symphony Orchestra.
Having performed Fiordiligi, Blanche de la Force, Vitellia, Dinah, Contessa, and Donna Elvira, she has also premiered roles in Friends House by Steven Crino, Dove’s Mansfield Park and Frances Pollock’s Stinney.
In 2022, Ms. Galloway won Second Prize in the International Clara Schumann Competition and in 2021 she was a semifinalist in the Jensen Vocal Competition. She has performed with Lidal North in Oslo, Opera NexGen, Saltworks Opera, Opera Baltimore, Savannah Opera, Bel Cantanti Opera, and Stillpointe Theatre.
A recent Fellow at Songfest, the Nordic Song Festival in Sweden, and the Ravinia Steans Music Institute, Ms. Galloway’s innovative recital programing has resulted in the best-attended concert event at the Baltimore War Memorial Arts Initiative.
Whether singing the soaring chants of Hildegard of Bingen or crafting arrangements of ancient music for historical harps, Alix Evans is dedicated to breathing life back into ancient music. She finds the sounds of medieval lays, epics, and polyphonic works to be not just aesthetically beautiful, but positively gripping, at once both familiar and captivatingly different. Alix’s passion is inspiring people through performance of this unique repertoire and drawing them into the world of early music through teaching and performance opportunities.
Alix has performed with choirs and ensembles across North America. With the early music ensemble at the University of Wisconsin-Madison, she explored approaches to harp accompaniment of troubadour song. She has performed with choirs specializing in music of the Renaissance in Baltimore, MD, Ottawa, ON and with Illuminare and Brigid’s Circle in Washington DC. During the pandemic, Alix founded “Falsa Musica,” a venue through which avocational singers could gather online while choirs were dark to sing medieval monophonic music – one of the few repertoires that lends itself to group singing over Zoom.
Alix is the music director of Second Wind Chorus in Washington DC and runs a thriving private studio. She holds an MM in historical performance and vocal pedagogy from the Peabody Institute at Johns Hopkins.
Sauvez-moi de l’amour is in partial fulfillment of the Doctor of Musical Arts degree in Vocal Performance at the Peabody Institute of Johns Hopkins University.