Sauvez-moi de l’amour

Sauvez-moi de l’amour


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).

January 2023
Baltimore, MD

Still of American actor Louise Brooks (1906-1985) in Diary of a Lost Girl, a 1929 silent film directed by Georg Wilhelm Pabst


Collaborator Spotlight

Claire Galloway

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.

Alix Evans

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.

The Shining Place

The Shining Place


In The Shining Place, I explored music and poetry by twentieth- and twenty-first-century women artists, including composers Eve Beglarian (b. 1958), Missy Mazzoli (b. 1980), Judith Weir (b. 1954), Lori Laitman (b. 1955), Margaret Bonds (1913-1972), and poets Emily Dickinson (1830-1886), Mary Oliver (1935-2019), and Edna St. Vincent Millay (1892-1950) in collaboration with pianist Michael Sheppard and audio/video engineer Andrew Bohman. As I navigated the continual isolation of the COVID-19 pandemic, I was most drawn to music and texts that spoke of a desire to expand the self, either through mining the interiority of one’s life or seeking new adventures in the larger world.

Regarded as a towering figure in English literature, Emily Dickinson (1830-1886), who wrote over 1,800 poems, spent most of her life at her family’s property in Amherst, Massachusetts. Although Dickinson’s circle of family and friends were aware of her writing, the true extent of her poetry was not discovered until after her death. I kept returning to Dickinson’s imagining of a “shining place,” in which she imagines her entrance into paradise. In awe of such otherworldly surroundings, the poet describes her joy as the saints speak her name for the first time.

Me — come! My dazzled face
In such a shining place!
Me — hear! My foreign Ear
The sounds of Welcome — there!

The Saints forget
Our bashful feet —

My Holiday, shall be
That They — remember me —
My Paradise — the fame
That They — pronounce my name —

While Dickinson’s poem engages with religious themes, I also interpreted her “shining place” as a paradise within oneself. By February 2022, like all of us, I continued to grapple with the consequences of the COVID-19 pandemic, including filming this recital in an empty hall with no audience permitted. As I prepared to perform for no one, I took inspiration from Dickinson’s ability to plumb the depths of her own imagination from the desk in her bedroom, nourishing her creativity in solitude.

In searching for an image to encapsulate my version of Dickinson’s “shining place,” I kept returning to the vivid paintings of Washington DC-based artist Alma Thomas (1891-1978), which I had seen in pre-pandemic trips to the Smithsonian American Art Museum. Thomas, who was the first Black woman artist to have a solo exhibition at the Whitney Museum of American Art in 1972, experimented with color theory and abstraction throughout her long career as an artist and educator. Thomas’ aesthetic became synonymous with her colorful, mosaic-like images, such as A Fantastic Sunset (1970). With its saturated, red sun surrounded by rings of multi-colored light, Thomas’ sunset is a brilliant visual incarnation of what I imagine my “shining place” could look like. For more information on Thomas and her incredible artwork, check out the National Museum of Women in the Arts and the Smithsonian American Art Museum.

February 2022
Baltimore, MD

Daguerreotype of Emily Dickinson, c. early 1847
Amherst College Archives & Special Collections

Portrait of a Lady (Alma Thomas) by Laura Wheeler Waring (1947)
Smithsonian American Art Museum
A Fantastic Sunset (1970) by Alma Thomas



“You Are the Dust” by Missy Mazzoli from Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt
“A Letter” by Lee Hoiby from The Shining Place: Five Poems by Emily Dickinson
“Hyacinth” by Margaret Bonds from Six Songs on Poems by Edna St. Vincent Millay
Pianist Michael Sheppard and myself at St. Thomas’ Parish in Washington, DC prior to filming A Shining Place

For more clips from The Shining Place, check out my media page and YouTube channel.

The Shining Place is in partial fulfillment of the Doctor of Musical Arts degree in Vocal Performance at the Peabody Institute of Johns Hopkins University.