Press Feature
“Cutting-edge composer, improvising harpist, writer and lecturer Anne LeBaron tells Limelight about her involvement in Perth's Totally Huge New Music Festival as one of the Festival's featured artists. She will discuss composing in a post-truth world and perform her work inspired by a military "blood chit".”
LIMELIGHT: Australia’s Classical Music and Arts Magazine, 2017
Read More“LeBaron served as international featured artist and composer-in-residence for the annual festival, which brings together musicians, critics, academics and others to “discuss the ideas that underline contemporary new music and sound art—the histories, methods, theories, approaches, techniques and dreams that make up the modern world of music and sound arts.”
Katie Dunham, 24700: News from California Institute of the Arts, 2017
Read More“Anne LeBaron is a composer as transformer. She transforms instruments, such as putting objects on the strings of the harp to tease out hidden sounds. She transforms cultural contexts, be they Kazakh, Bach, or Katrina.
"She deals with what we know, with issues of our time and place. But her knack is for alternative realities, showing us the here and now from a point just slightly off the beaten track.
"There is, in LeBaron's music, a leaving the body and a celebration of the body, meditations on death and breath. Laura Huxley's aria was followed by a bassoon duet that, with the added benefit of electronics, mimicked the sounds of frogs and hysterical monkeys. It was amazing.”
Read More“She is on the wavelength of most of our musical institutions. She is a favorite of Southwest Chamber Music. Her environmentally mystical opera “Wet” had its premiere at REDCAT in 2005. Two years ago, she made a real splash with her hyper-opera “Crescent City,” performed by L.A.’s vital new experimental opera company, the Industry.”
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