DANIEL THOMAS DAVIS
Praised as “ingenious” by The Guardian and for his work’s “vibrant ardor” by The New York Times, Daniel Thomas Davis creates vocal, instrumental and dramatic music that often reflects his fascination with the intricacies and idiosyncrasies of the human voice – as well as his lifelong interest in American traditional musics. His music has been performed and/or recorded by Lynn Harrell, the Detroit Symphony, London Sinfonietta, Yarn|Wire, Lontano, Charlotte Symphony, Lexington Philharmonic, BBC Singers, Ossian Ensemble, Ensemble X, 21st-Century Consort, Locrian Players, eighth blackbird, members of the Chamber Music Society of Lincoln Center, and instrumentalists from many of the world’s top orchestras (Chicago, Berlin, Philadelphia, London and Los Angeles). Highlights for the 2017-2018 season will include the premieres of two new operas – Six.Twenty.Outrageous at Symphony Space with American Opera Projects and Kith and Kin with North Carolina Opera. A graduate of the Royal Academy of Music, University of Michigan and Peabody, Dan serves as a professor and composition-program director at SUNY-Binghamton; he has previously taught at Duke University and the California College of the Arts. He has received fellowships and residencies from the British Government (Marshall Scholar), Bogliasco Foundation, Mellon Foundation and Yaddo, and has been honored by awards from BMI and ASCAP. www.danielthomasdavis.com
Adam Frank’s essays on affect, media, and American literature have appeared in ELH, Criticism, Critical Inquiry, and elsewhere. He has written Transferential Poetics, from Poe to Warhol (Fordham University Press, 2015), co-edited, with Eve Kosofsky Sedgwick, Shame and Its Sisters: A Silvan Tomkins Reader (Duke University Press, 1995), and produced two full-length recorded audiodramas, Overpass! A Melodrama (alien8recording, 2007) and Some Mad Scientists (www.somemadscientists.com). He currently teaches in the Department of English and co-chairs the Graduate Program in Science and Technology Studies at the University of British Columbia.
As co-founder of the production company Giants Are Small, visual artist, designer, and director Doug Fitch directed several projects conducted by Alan Gilbert for the New York Philharmonic, including Ligeti’s Le Grand Macabre (cited as the top opera of 2010 by The New York Times, New York Magazine, and Time Out New York), Janáček’s The Cunning Little Vixen (2011, New York Magazine’s “Best Classical Event of the Year”), A Dancer’s Dream: Two Works by Stravinsky (2013, later screened in movie theaters worldwide); and HK Gruber’s Gloria – A Pig Tale (2014, with forces from The Juilliard School as part of the New York Philharmonic’s Bienial). Mr. Fitch was the inaugural WBFO visiting artist at SUNY, where he created a devised opera of images, How Did We...? In 2013 he directed and performed in the premiere of Matthew Suttor’s musical setting of Blaise Cendrar’s poem La Prose du Transsibérien et de la Petite Jehanne de France with the Taos Chamber Music Group. He has created productions for Los Angeles Opera, Los Angeles Philharmonic, and Santa Fe Opera, and directed projects for Canada’s National Arts Centre, Royal Stockholm Philharmonic Orchestra, and Tanglewood (Elliot Carter’s What Next?,screened at The Museum of Modern Art).