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International contemporary
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Featured
Mar 12, 2025
An Update from ICE
Mar 12, 2025
Mar 12, 2025
Nov 19, 2024
On the Power of Cultural Exchanges
Nov 19, 2024
Nov 19, 2024
Oct 22, 2024
Announcing the new members of the International Contemporary Ensemble!
Oct 22, 2024
Oct 22, 2024
Aug 19, 2024
Announcing our 2024-25 Season!
Aug 19, 2024
Aug 19, 2024
Aug 5, 2024
Announcing our Call For ____ Composers!
Aug 5, 2024
Aug 5, 2024
Feb 13, 2024
The New York Times: International Contemporary Ensemble at Carnegie Hall
Feb 13, 2024
Feb 13, 2024
Feb 5, 2024
Shout out in The New Yorker!
Feb 5, 2024
Feb 5, 2024
Jan 16, 2024
WQXR Feature!
Jan 16, 2024
Jan 16, 2024
Jan 12, 2024
Congratulations to George Lewis on this feature!
Jan 12, 2024
Jan 12, 2024
Dec 4, 2023
Afterword in the New York Times!
Dec 4, 2023
Dec 4, 2023

Photo by Ruth Walz

Perle Noire in the press!

March 24, 2023

Dutch National Opera Forward Festival 2023 Review: Perle Noire, Meditations For Joséphine

“[…] The music itself was thoroughly engaging: often it was disturbing, sometimes you could feel the anger and defiance; at other times it pounded out strong rhythms as with the Danse Sauvage, it rarely settled into a comfortable melody, and it was always honest and true to the raw emotions it was endeavoring to present. There were no tearful tunes or sentimental melodies to pull on the heartstrings. It was deliberately unsettling.

Watching Sorey himself perform was a real pleasure, as he moved regularly between the drums and piano, exuding a calm energy and relaxed confidence. His solos, particularly on the drums, did not, however, lack energy; far from it, but the overall impression was one of level-headed composure. He played with a great sense of freedom and imagination, including using mallets on the piano strings.

The International Contemporary Ensemble was no less impressive. The musicians produced a totally committed performance, in which you could see them enjoying each other’s improvised solos. Occasionally, a soloist would accompany Bullock in the center of the stage in an act of support or sympathy, which was a convincing and neatly conceived touch.”

—Alan Nielson

Thanks to OperaWire for this review!

Full article here
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