LEAHA MARIA VILLARREAL
Lucid Culture on The Chasm & The Cliff
“...a suspenseful whispery upward climb to a fork in the road where Evans suddenly introduced an agitation that rose to a pummeling, assaultive and intense vortex from the percussion and then faded down again, unresolved. It was the most viscerally exciting piece on the bill."
"Resound" co-creation for voice, violin, and visuals. Presented at USC's Thornton Live: Fall Festival 2020.
"Underway" collaboration with Heidi Duckler Dance as a part of Los Angeles Opera's Eurydice Found Festival, a site-specific work under the 7th Street Bridge in Los Angeles, CA.
"What Remains" collaboration with Heidi Duckler Dance hosted by the Wende Museum in Culver City, CA.
With works described as "visceral" (Lucid Culture), "propulsive" (Bachtrack) and "austere" (New Music Box), composer Leaha Maria Villarreal’s output includes music for dance, film, opera, and the concert hall.
She has worked with organizations and ensembles such as Beth Morrison Projects and the Los Angeles Philharmonic; ETHEL and Friends concert series at The Metropolitan Museum of Art; andPlay; Wild Rumpus; JACK Quartet; Experiments in Opera; and TRANSIT New Music, among others. Past composition teachers include Roger Reynolds, Steven Kazuo Takasugi, and Chinary Ung. Villarreal holds a B.A. from the University of California, San Diego and an M.M. from New York University where she studied with Julia Wolfe and Michael Gordon. She is a co-founder of contemporary music ensemble Hotel Elefant; a Jerome Fund for New Music recipient; and taught composition with New York Philharmonic's Very Young Composers Bridge Program. Villarreal is currently pursuing a D.M.A. at the University of Southern California.
I Care If You Listen on The Warmth of Other Suns
“In the best joining of human and machine since RoboCop, Andie Springer adroitly traversed a copycat braid of sound that was feverish, sometimes animal-like, and Crumb-esque. When fantastic players collaborate with loops or recordings, presets or ringtones, the result is often a spiritless, unexciting humdrum. Not so with Springer, who made the electronic music come to life and vice versa."