Alex Ross calls Missy Mazzoli’s latest opera The Listeners a “potent, chilling and excruciatingly relevant work.” (November 17, 2022)
Stream Missy Mazzoli’s latest opera The Listeners for free on Opera Vision until May 12, 2023. View the trailer for The Listeners here.
George Saunders cites Missy Mazzoli in new Lit Hub article titled “George Saunders on Reading Chaotically and the Power of Generous Teachers.” A quote from the article reads… “I’d love to be a lead guitar player or maybe, if I…
WATCH Missy Mazzoli discuss her new violin concerto “Procession” written for Jennifer Koh with un/HEARD (Youtube)
Missy Mazzoli’s new Violin Concerto receives its dazzling Nordic premiere by Jennifer Koh, the Lahti Sympony and Dalia Stasevska. (Article by Jari Kallio)
Missy Mazzoli featured in Opus Magazine (Sweden), with photos by Mats Bäcker.
Mazzoli says “With each work, I endeavor to provide a new language for thoughts and feelings…I want to provide space in which we can process the overwhelming nature of the world…In this sense, a velvet-lined theatre can become arenas for…
WATCH mezzo-soprano Emily D’Angelo and pianist Sophia Muñoz perform Missy Mazzoli’s song You Are the Dust, featured on the Classical Album of the Year enargeia.
Emily d’Angelo’s album enargeia named classical album of the year at the Juno Awards, featuring music by Missy Mazzoli, Hildur Gudnadottir, Sarah Kirkland Snider and Hildegard von Bingen.
April 23-27, 2022, New York City Twenty-two alums and current students of the Luna Lab Composition program descend on New York city for a week of concerts, workshops and masterclasses.
“In the dance world, Mazzoli’s music was featured in two recent projects that garnered international attention. Her thrilling music for Robert Binet’s 2019 Orpheus Alive, a dance-theatre reimagining of the classic tale of Orpheus and Eurdyice, is an evening-length orchestral score…
Listen to Missy Mazzoli’s Sinfonia (for Orbiting Spheres) performed by Frankfurt Radio HR-Orchestra, conducted by Daniel Bjarnason on February 24th, 2022. [Mazzoli’s piece begins at 48:20.]