2013 version for soprano, small chorus and chamber orchestra – American Premiere
Julia Bullock, soprano | ICE | Roomful of Teeth | Joana Carneiro, conductor
Frank Rossi, electronics | Ben Zamora, lighting
I'm thrilled to be performing five premiere performances of a new harp concerto by the stunning composer Vivian Fung. Vivian is incredibly gifted at using folk langaueg as a point of departure, and I have no doubt the harp will act as the perfect vehicle for her expression. We're hard at work on sketches, and look for video updates soon! Participating orchestras: Alabama Symphony, Badische Staatskapelle Karlsruhe, Phillips Camerata at the Phillips Collection, Metropolis Ensemble, and the San José Chamber Orchestra. World Premiere date- February 13th, 2014 with the Alabama Symphony!
Bridget performed Mozart's Flute and Harp Concerto and Debussy's Danses Sacree et Profane this past week in Porto Alegre. Watch a clip of the rehearsal below!
Under the direction of Producer Bob Sadin, Bridget joins jazz and world music greats Ira Coleman, Etienne Charles, Rhani Krija, and Vincent Segal, along side Patrick Messina in a collaboration that explores music of the Mediterranean Sea.
Read the Review here!
Pensacola News Journal: The glory of the evening belonged to guest soloist Bridget Kibbey. Mounting her great concert harp as an acrobat would a Harley Chopper, Kibbey turned Jaoquin Rodrigo's "Conceirto Serenata (1956)," into a tour-de-force that brought a long standing ovation.
Kibbey's encore, Bandoneon , a world-premiere written for her by Paquito D'Rivera...opened eyes to what the harp can be in gifted hands in the 21st Century...R. F. Yeager
Read the Review of Bridget's solo showcase in Carnegie Hall:
The star of this particular evening was harpist Bridget Kibbey. While the classical concert harp probably isn’t the first instrument that you would think of as being badass, Kibbey makes it that way. Praised for her DIY esthetic, she lends her unorthodox virtuosity and powerful attack to a nonstop series of new commissions: much as the Imani Winds are doing for wind ensembles, she’s singlehandedly springboarding a new repertoire for her instrument.
Bridget and Adrian discuss Debussy, Ravel, Caplet's writing for the harp, and who today is taking the reigns in writing for this fascinating, yet often elusive instrument.
Bridget will appear as guest artist in five of the harp's greatest French gems with the fabulous musicians of Camerata Pacifica in Los Angeles, Santa Barbara, Pasadena. Works include Debussy Danses Sacree et Profane, Ravel's Introduction and Allegro, and Caplet's Conte Fantastique. Stay tuned for Bridget's upcoming release of a few of these works via Music@Menlo LIVE.
Bridget makes her Music@Menlo Debut with masterpieces by Debussy and Caplet for harp and string quartet! Please come on out to wine country for some electic concerts!
Bridget is featured in Chicago Symphony's MusicNow Series: Aaron Jay Kernis' L'aarte della Dansaar.
Bridget performs in Elliott Carter's 103rd Birthday celebration concert at the 92nd Street Y.
Bridget featured in Opening Night at the Chamber Music Society of Lincoln Center. Come hear Bridget open the program with Cho-Liang Lin in Saint-Saen's Fantaisie for Violin and Harp.
Bridget begins her first season as a member of Chamber Music Two: the young artist program of the Chamber Music Society of Lincoln Center. Among other appearances with CMS, she will perform Ravel's Introduction and Allegro in Alice Tully Hall on Sunday, April 18th at 5pm.
Bridget recently joined the Bard Conservatory Harp Faculty and played her Carnegie Hall Recital Debut. Thank you, family and friends, for coming to show your support!
Bridget plays Le Poisson Rouge February 24th at 7:30pm, and also WNYC's Soundcheck February 17th at 2pm! For both events, she'll be teaming up with singer-songwriter-cellist-extraordinaire Emily Hope Price to showcase new roles on their instruments as well as a surprise collaboration...Come on out to the show!
Winner announced! Bridget was chosen for a commission prize through the BMI foundation/Concert Artists Guild: The Carlos Surinach Prize. After listening to some of today's greatest young composers, she chose Nathan Shields to write a work for string quartet and harp, to be premiered in the 10/11 season. Stay tuned for details! Congrats, Nathan!
Bridget is delighted to join the roster of Chamber Music Society of Lincoln Center's "Chamber Music Two " for the next three years, starting with the 09/10 season: This program will afford Bridget performances with other CMS Two artists and the CMS roundtable at large on NYC stages, international and national tour appearances, recordings on CMS' in-house label and Deutsche Grammaphon's digital concert series, and various educational outreach experiences. Stay tuned for future concert dates with CMS!
Love is Come Again listed in 'Top Ten Recordings of 2007' by Time Out New York Magazine
Bridget named a winner of Concert Artists Guild 2007 International Competition
The Washington Post: Harpist Bridget Kibbey's recital at the Phillips Collection on Sunday went from beauty to rarified beauty in an eclectic hour-long program. The dazzling runs, complex poly-rhythmic figures and chiming of bell-like harmonics all made their effect, thanks as much to Kibbey's formidable technique as to the canny writing of the composers and arrangers on offer…
Lucid Culture: The star of this particular evening [Carnegie Hall, Classical Recording Foundation Awards] was harpist Bridget Kibbey. While the classical concert harp probably isn’t the first instrument that you would think of as being badass, Kibbey makes it that way. Praised for her DIY esthetic, she lends her unorthodox virtuosity and powerful attack to a nonstop series of new commissions…
Lauded for her compelling artistry and virtuosity, harpist Bridget Kibbey is gaining a reputation for showcasing the broad range of her instrument through multiple-genre performances -- drawing diverse audiences through new collaborations and platforms.Bridget is a recipient of the prestigious Avery Fisher Career Grant, the Classical Recording Foundation's Young Artist Award, a 2015 Salon de Virtuosi Grant, and the only harpist to win a position with the Chamber Music Society of Lincoln Center’s Chamber Music Society II, a winner of Concert Artist Guild's International Competition, Astral Artist Auditions, and Premiere Prix at the Journées de les Harpes Competition in Arles, France. She tours internationally as concerto soloist, recitalist, and collaborator with some of today’s most compelling artists.
Bridget's debut album, Love is Come Again, was named one of the Top Ten Releases by Time Out New York. She was most recently featured with tenor Placido Domingo, in a new album entitled Encanto del Mar - released on SONY Records this past year. She may also be heard on Deutsche Grammaphon with soprano Dawn Upshaw, in Luciano Berio’s Folk Songs and Osvaldo Golijov’s Ayre.
Ms. Kibbey's solo performances have been broadcast on NPR's Performance Today, on New York's WQXR and Q2 Radio, WNYC's Soundcheck, WETA’s Front Row Washington, WRTI’s Crossover, and A&E's Breakfast with the Arts.
Bridget is featured annually with the Chamber Music Society of Lincoln Center, is a principal artist with Camerata Pacifica in California, and has appeared as featured soloist and chamber artist at the Bravo!Vail, Chamber Music Northwest, Bridgehampton, Aspen, Bay Chamber Festivals, Pelotas, Savannah Music Festival, among others.
With a passion for commissioning new repertoire for the harp, Bridget recently spear-headed a five orchestra concerto-commissioning consortium with Juno-Award winning composer Vivian Fung. Bridget performed five world-premiere performances with The Karlsruhe Badische Symphoniker (Germany), The Phillips Camerata in Washington, DC, The Alabama Symphony, The San José Chamber Orchestra, and the Metropolis Ensemble.
This season’s highlights include performances of Ginastera’s Harp Concerto with the Alabama Symphony in honor of the composer’s centennial. She will be featured as soloist with the The Chamber Music Society of Lincoln Center in Alice Tully Hall, in the Lyon and Healy Concert Series, the Ravinia Festival, the Bridgehampton Festival, the Ojai Festival, and with Camerata Pacifica. Bridget will also be featured on Los Angeles’ KCET with the San Francisco Children’s Chorus and in New York City, and with the St. Thomas Boys Choir in New York City. She will perform chamber music and solo recitals across the United States and Germany.
[H]arpist Bridget Kibbey expertly captured the moody chiaroscuro of Debussy's late sonata for those instruments. Ms. Kibbey, a performer who seems to revel in the sheer physicality required to coax a vast range of exacting expression from her stately instrument, was a delight to watch and to hear...And Ms. Kibbey was a marvel once more, her dramatic sweeps and robust lines repeatedly cause for shivers...
Everything about Love Is Come Again, from its unconventionally attractive packaging to Adam Abeshouse's exquisite recording, attests to Kibbey's professionalism and imagination. Perhaps inspiration would be a better term, given this program of underexposed works by innovative composers moved to write for the instrument after encountering a major player. À la Française, the first of André Caplet's Divertissements, offers the frilly ripples one would expect in a solo-harp recital, but Kibbey's range of touch in the second, À l'Espagnole, forecasts subtler pleasures ahead. Performances of Germaine Tailleferre's Sonata, Benjamin Britten's Suite for Harp and Elliott Carter's Bariolage are technically assured and full of character. In Every Lover Is a Warrior, the promising young composer Kati Agócs spins folk materials into a powerful, ruminative suite. Add it all up, and calling this a strong contender for the year's most distinguished debut CD doesn't seem like an overstatement...
Harpist Bridget Kibbey's recital at the Phillips Collection on Sunday went from beauty to rarefied beauty in an eclectic hour-long program. The dazzling runs, complex poly-rhythmic figures and chiming of bell-like harmonics all made their effect, thanks as much to Kibbey's formidable technique as to the canny writing of the composers and arrangers on offer...
Kibbey was an especially dynamic presence, not just in her playing -- she took a virtuoso turn with the quartet in Debussy's "Danses sacrée et profane," a performance marked by crisp phrasing and driving energy -- but also in her remarks to the audience. The format of these concerts involves musicians' comments from the stage in lieu of program notes, and there's generally a certain level of endearing awkwardness involved, but Kibbey took to the microphone like a seasoned pro after Debussy's Sonata for Flute, Viola and Harp, briefly explaining with clarity and confidence the significance of the piece (it was the first major work for those forces) and relating the music to Debussy's life (he was dying of cancer when he wrote it, and the first movement hints at the narcotic fog he was experiencing). An Avery Fisher Career Grant winner, she's a student of former CMNW regular Nancy Allen, so her appearance carried a sense of the torch being passed...
Bridget Kibbey is the seminar's New York professional and glamorous role model. Just 29, she's trying to sail a career where few have voyaged -- as a Yo-Yo Ma or Evelyn Glennie of the harp. On recordings, Kibbey has premiered music by acclaimed composer Osvaldo Golijov; in concert, she's joined Fringe Atlanta, a multimedia chamber group that is redefining the concert experience. As Hsu unpacks sections of the sonata, Kibbey coos and coaxes for the desired effect -- "Bring out the colors!" -- but that thumb continues to stymie the student. So master slides over to apprentice's place and shows how it's done. In a small cinderblock dorm room, a harp can be as loud as a truck. Yet Kibbey's sound is quieter than Hsu's and more theatrical; her phrases are more sculpted, charged with feeling. Within a few seconds Kibbey has given the harp an outsized personality and ethereal purity, like a piano set free of its hammers and heavy case.
"...the marvelous harpist Bridget Kibbey... Even after the stranger's arrival -- Kibbey knocked on her harp's wooden frame -- the piece retains its sheer beauty. Sunday, in the final suspense-filled moments, the harpist seemed to be gathering up baskets of opulent sound, bundles of arpeggios, floating them out into the concert hall."
She made it seem as though her instrument had been waiting all its life to explode with the gorgeous colors and energetic figures she was getting from it.
Bridget Kibbey brought blazing power and finesse to the intricate part, which swept and lunged through open spaces amid glittering wind and string figures...
Under normal circumstances, a solo harp recital would not have been on my bucket list. Until, that is, TCCA's Third-Sunday breathtaking presentation of the world-leading harpist Bridget Kibbey. I had never been to a harp recital. I could not name a classical work for solo harp. I knew of only two harpists. I could not say how a harp produces the notes of the chromatic scale (seven pedals are the secret,) and I had no idea how the harpist creates such a range of sounds just by plucking a string (it's the physics of vibration.)...
"In the Carter, harpist Bridget Kibbey, at once confident and delicate, displayed her instrument’s wide-ranging vocabulary for music, revealing ever-fluctuating tempos, lightning-fast leaps and the chordal richness of the piece."
Harpist Kibbey was a beacon of comprehension, her gradations of color and volume steeped in the music's meaning...
Bridget Kibbey, the harpist in Canticle V, caught the various shades of glitter and menace in the music...
The most familiar piece on the program was the Introduction and Allegro for Harp, Flute, Clarinet and String Quartet. The assembled forces, especially harpist Bridget Kibbey, found all the considerable enchantment in the music...
That's not to say that the evening was without its rewards. Harpist Bridget Kibbey spearheaded a graceful, dynamic account of Debussy's "Danse sacrée et danse profane," marked by forceful rhythms and a robust tonal presence.
...the work brought out the supplest, most affectionate playing the violinist Cho-Liang Lin and the harpist Bridget Kibbey could muster...
As a young girl, Bridget Kibbey heard a harpist in her church and, appropriately enough, had a religious experience. Now the young artist, who has racked up countless awards—including the Avery Fisher Career Grant she used to fund her divine solo CD, Love Is Come Again—has become well known for fostering new works, and for catholic tastes that push her angelic instrument into a wider playing field. We caught up with Kibbey as she made her way home from a gig in New Jersey to discuss her upcoming show at the Stone on Tuesday, May 18. Click past the jump for more on her love of bluegrass, how she hauls a harp around New York and what she thinks classical music could learn from salsa clubs...
All the works on Thursday’s program were written in the past 10 years, except for “Bariolage,” a six-minute fantasy for solo harp, created in 1992, when Mr. Carter was a spry 83. It was played beautifully here by Bridget Kibbey.
June Han and Bridget Kibbey gave a mesmerizing account, their harps twinkling, rippling and bristling in alternation and in tandem as they cooed, murmured and chanted the text...
The star of this particular evening was harpist Bridget Kibbey. While the classical concert harp probably isn’t the first instrument that you would think of as being badass, Kibbey makes it that way. Praised for her DIY esthetic, she lends her unorthodox virtuosity and powerful attack to a nonstop series of new commissions…she’s singlehandedly spring-boarding a new repertoire for her instrument
Like a Yo-Yo Ma of the harp…Within a few seconds Kibbey has given the harp an outsized personality and ethereal purity, like a piano set free of its hammers and case.
"...Kibbey’s bravura and sensitivity, especially in her cadenza, outlined the music’s intriguing mix of timbres, thorny sonorities, wailing glissandos and chirping pizzicatos echoed in the strings. "
For Booking Inquiries, please email:Katie@BridgetKibbey.com
Contact Bridget Kibbey
For Press Inquiries, please contact Rebecca Davis PR:email@example.com
Rebecca Davis Public Relations:
Email: firstname.lastname@example.org New York City Office:
12 East 97th Street #10F
New York, NY 10029
Recorded at Drew University
Producer/Engineer Adam Abeshouse
Recorded on a Lyon and Healy Style 23 Harp
The Alabama Symphony
Karlsruhe Badische Symphoniker
San José Chamber Orchestra
The Phillips Collection
This video includes live performance highlights from one of the Premiere Performances of the Vivian Fung Harp Concerto with the Metropolis Ensemble.
Le Poisson Rouge, New York City
Bridget Kibbey, Harp
Andrew Cyr, Conductor
The Metropolis Ensemble
The Bridge Project
Seven newly-commissioned works for harp showcase the diverse cultural fabric that shapes the United States as well as Bridget’s compelling, communicative power and diversity as an artist. The album re-defines the role of the harp as each international composer uses the instrument to dialogue about his/her cultural inspiration and move to America (most having immigrated to the United States). The result: A virtuosic, cross-genre, cross-cultural celebration for harp.
Newly-Commissioned works for solo harp by
• Grammy-Award Winner Paquito d'Rivera (Representing Cuba)
• Grammy-Nominated Avner Dorman (Representing Israel)
• Kati Agocs (Representing Canada)
• Kinan Azmeh (Representing Syria)
• David Bruce (Representing Venezuela)
• Du Yun (Representing China)
• Susie Ibarra (Representing the Philippines)
Special Guest Grammy-Award winning, McArthur Genius Grant Recipient Soprano Dawn Upshaw: In a new work for voice and harp by Avner Dorman
Grammy-Award Winning Producer Adam Abeshouse
Recorded at Drew University
Producer/Engineer Adam Abeshouse
Recorded on a Lyon and Healy Style 23 Harp
E-Flat Major BWV 1031
G minor BWV 1020
Danses Sacree et Profane (Harp & String Quartet)
Sonatine (Arr. Fl/Cello/Hp by Carlos Salzedo)