Philadelphia Chamber Music Society: Lucy Fitz Gibbon, soprano; Marlène Ngalissamy, bassoon; Ryan McCullough, piano

• Lucy Fitz Gibbon, soprano
• Marlène Ngalissamy, bassoon
• Ryan MacEvoy McCullough, piano

Noted for her dramatic and musically stunning performances, soprano Lucy Fitz Gibbon returns to PCMS with Marlène Ngalissamy, a bassoonist whose "style is effortless" (Opus One Review). Their program features Chabrier's gorgeous L'invitation au voyage and Cinco peças para canto e fagote by Brazilian composer Francisco Mignone, the "king of the waltz".

Attending online: The livestream will take place at 7:30pm Eastern / 4:30pm Pacific. The video will remain available for 72 hours after each performance, subject to the approval of the artists.   

Attending in person: Please review Philadelphia Chamber Music Society's current COVID-19 Safety Protocols before attending this event: https://www.pcmsconcerts.org/concerts/covid-19-faq/

About Philadelphia Chamber Music Society

https://www.pcmsconcerts.org/

About Lucy Fitz Gibbon, soprano

Noted for her "dazzling, virtuoso singing" (Boston Globe), Lucy Fitz Gibbon is a dynamic musician whose repertoire spans the Renaissance to the present. She believes that creating new works and recreating those lost in centuries past makes room for the multiplicity and diversity of voices integral to classical music’s future. As such, Ms. Fitz Gibbon has given U.S. premieres of rediscovered works by Baroque composers Francesco Sacrati, Barbara Strozzi, and Agostino Agazzari, as well by 20th-century composers including Tadeusz Kassern, Roman Palester, and Jean Barraqué. She has also worked closely with numerous others, workshopping and premiering works by a wide range of composers including John Harbison, Kate Soper, Sheila Silver, David Hertzberg, Reena Esmail, Roberto Sierra, Anna Lindemann, and Pauline Oliveros. In helping to realize the complexities of music beyond written notes, the experience of working with these composers translates to all music: the commitment to faithfully communicate not only the score, but also the underlying intentions of its creator.

About Marlène Ngalissamy, bassoon

Born in Moscow, Marlène Ngalissamy moved to Canada at the age of 10 and began learning the bassoon three years later. She quickly developed a deep passion for the instrument and was accepted at the Montreal Conservatory of Music in the class of Mathieu Harel.

Winner of the first prize in the Canadian Music Competition (2012), she performed the W.A. Mozart Bassoon Concerto with the Gala Orchestra in Toronto. As a soloist, she performed with the Metropolitan Orchestra of Montreal, the Montreal Youth Symphony Orchestra and the orchestra of the Conservatory of Montreal. She played with different orchestras in Quebec such as The Metropolitan Orchestra of Montreal, les Violons du Roy, and The Montreal Symphony Orchestra as both substitute bassoon and contrabassoon.

In February 2014, Marlène gave a recital at the Red Path Hall at McGill University as part of the Montreal High Lights Festival. The performance was recorded and broadcasted on CBC Radio2. She is also a finalist of the Meg Quigley Bassoon Competition 2015.

One of the eight laureates of the Developing Artist Grant of the Hnatyshyn Foundation (2013), Marlène completed her Bachelor degree at the Montreal Conservatory with Mathieu Harel and Stéphane Levesque, and attended the Curtis Institute of Music, studying with Daniel Matsukawa.

About Ryan MacEvoy McCullough, piano

Born in Boston and raised behind the Redwood Curtain of northern California, pianist Ryan MacEvoy McCullough has developed a diverse career as soloist, vocal and instrumental collaborator, composer, recording artist, and pedagogue. Ryan's music-making encompasses work with historical keyboards, electro-acoustic tools and instruments, and close collaborations with some of today’s foremost composers. In a performance of Chopin "his virtuosity was evident and understated, his playing projected a warmth… that conjured the humanity of Artur Rubinstein," (Eli Newberger, The Boston Musical Intelligencer) and in a performance of contemporary music, his playing "found a perfect balance between the gently shimmering and the more brittle, extroverted strands… and left you eager to hear the rest" (Allan Kozinn, The NY Times).