Single Tickets Now On Sale!
Single Tickets for Resonance Ensemble’s
2023-24 Season On Sale Today!
For the past 16 years, Resonance Ensemble has brought extraordinary, meaningful music to Portland’s artistic scene, reflecting on the most pressing social issues of our times. This season promises to be no exception.
Resonance Ensemble's 16th season promises a phenomenal lineup, featuring some of today's most brilliant musicmakers. Featuring Pulitzer Prize-winning composer Caroline Shaw, as well as newly commissioned works from Cecille Elliott, Dave Ragland, and Kenji Bunch—there is no doubt about it — this season is packed with impact.
Single tickets are now on sale for these four concerts:
THE BLACKNIFICENT 7 — NOVEMBER 17, 2024
Damien Geter curates this concert of vocal music by a collective of leading Black composers known as the Blacknificent 7.
CHOIR GRRRL — FEBRUARY 8, 2025
This Portland-infused collaborative extravaganza features everyone playing everyone’s music together–and you’re invited to join in, too.
RESONANCE NOVA—MARCH 15 & 16, 2025
Presented in partnership with Orchestra Nova Northwest, this concert will bring over 100 musicianstogether to perform 3 groundbreaking musical works as a catalyst for change.
WE ARE STILL HERE — JUNE 1, 2025
Presented in partnership with Vanport Mosaic, this site-specific afternoon of music, theatre, and dance will reclaim and heal the original site of the “Portland Assembly Center”—now the EXPO Center —where nearly 4,000 Japanese Americans were unjustly incarcerated.
Don’t miss a single note of it.
Buy Your Tickets Today — Before They're Gone!
You make it all possible.
On June 30th, Resonance Ensemble closes the books on our 15th season. Thanks to your support, we’ve reached incredible milestones. From collaborations with world-class artists to deeply moving community celebrations, you made it all possible.
You made it possible to host Grammy-winning baritone Kenneth Overton, surrounded by the vibrant works on display in the Black Artists of Oregon exhibit (curated by Intisar Abioto) at the Portland Art Museum
You enabled us to commission the world premiere of “From the Book of Sankofa,” a new work by Darrell Grant with poetry by A. Mimi Sei.
You supported the community connection to trailblazing activists like Taylor Stewart, the visionary force behind the Oregon Remembrance Project.
You helped us celebrate composers in film at the Hollywood Theatre.
And dream of dreams, you helped bring Sweet Honey in the Rock to us for two nights of unforgettable music and a new friendship that will continue.
You helped us celebrate our anniversary with a concert of Resonance commissions, which we are taking to the studio to record for audiences worldwide.
You helped us do all of that and more. On behalf of the Resonance Ensemble Board of Directors and staff, we thank you for your ongoing support and ask you to consider making your gift to Resonance today so that we can continue this incredible work.
Will you contribute $5, $10, $50, $100, or ANY amount to help us reach our goal of $7,500? Every dollar counts and will directly impact our ability to bring new works to life. To donate today:
Support our Kickstarter.
Mail your donation to Resonance Ensemble at 3121 South Moody Avenue #130, Portland, Oregon, 97239 (postmark by June 30)
Call (503) 427-8701 to donate over the phone
With love,
The Resonance Team
Kathy, Damien, Shohei, Liz, and Kim
Resonance Ensemble’s Second Album Launches on Kickstarter
“This album showcases artists who, through their incredible music and poetry, share the stories that matter to them.”
PORTLAND, OR — June 20, 2024 — Following the successful debut of their first album LISTEN in 2023, Resonance Ensemble announces their upcoming release, SAFE HARBOR. This album features 12 Resonance commissions, all inspired by themes of sanctuary, resilience, and hope. The featured composers and poets include Jasmine Barnes, Kenji Bunch, James DePreist, Lady Dane Figueroa Edidi, Cecille Elliott, Damien Geter, Darrell Grant, Joe Kye, S. Renee Mitchell, Kimberly R. Osberg, Judy A. Rose, A. Mimi Sei, Sonya Renee Taylor, Mari Esabel Valverde, and Vin Shambry.
The release of SAFE HARBOR comes as the ensemble celebrates the closing of its 15th anniversary season, most recently with their MISSION15 concert that offered a preview of the album. The recording will feature 24 singers and instrumentalists, including flutist Adam Eccleston; soloists Onry, Cecille Elliott, and Nicole Greenidge Joseph; cellist Valdine Mishkin; and many other artists with ties to the Pacific Northwest. The album is conducted by Katherine FitzGibbon, Shohei Kobayashi, and Damien Geter.
FitzGibbon shares her excitement for the project: “Over the years, Resonance has commissioned dozens of musical compositions, poems, and other works of art, showcasing artists who, through their incredible music, share the stories that matter to them. We are thrilled to share SAFE HARBOR so that this music can reach and inspire audiences worldwide.”
Today officially marks the launch of their Kickstarter campaign, aimed at funding the production costs associated with the album. Backers pledging their support will unlock a range of rewards, including advance copies of the album, tickets to upcoming concerts, invitations to private performances, and more.
Resonance Ensemble is celebrated for their music that uplifts communities, addresses pressing social issues, and contributes to the evolution of classical music. With SAFE HARBOR, they continue to champion innovative voices and present compelling new works that embody their unwavering commitment to mission-driven art.
For more information about the album and how to become a backer, please visit their Kickstarter campaign page here or contact Resonance at resonancechoral.org.
ANNOUNCING SEASON 16: A Vocal Force for Impact
Featuring new works by Dave Ragland & Cecille Elliott, performances by Caroline Shaw, Danni Parpan, Nancy Ives
Resonance Ensemble announces its sixteenth season, A VOCAL FORCE FOR IMPACT. For the past 16 years, Resonance Ensemble has brought exceptional performances of meaningful new music to Portland’s artistic scene, reflecting on the most pressing social issues of our times. Now, with four large-scale productions reaching audiences across Portland, this award-winning choir continues to champion compelling voices sharing their stories. From confronting hard truths and honoring beloved composer collectives, to hosting a jam session featuring some of today’s most brilliant music makers—including Pulitzer Prize-winning composer Caroline Shaw—our season is packed with impact.
“We are thrilled to be working once again with such phenomenal artists and organizations,” says Resonance Artistic Director Katherine FitzGibbon. “This season is filled with a deep and varied array of projects. Audiences will experience the work of beloved longtime collaborators alongside artists we've always dreamed of working with.”
Damien Geter curates the season opener this November, with a special array of vocal works by Blacknificent 7 – an incredible array of leading Black composers – including Jasmine Barnes, Jessie Montgomery, Shawn Okhepholo, Dave Ragland, Carlos Simon, Joel Thompson, and Geter himself. “These are some of the most exceptional, accomplished composers working today,” says Geter. “I can’t wait for Portland to experience their music.” The concert will include the world premiere of a new Resonance commission by Dave Ragland, as well as the Oregon premiere of Geter’s Cantata for a More Hopeful Tomorrow, with cellist Nancy Ives.
In February, Resonance’s treble singers join forces with the innovative talents of Ringdown – Caroline Shaw and Danni Lee – and Resonance-favorite Cecille Elliott for CHOIR GRRRLS—part community jam session and part celebration, this concert will feature boundary-pushing new works by these fiery voices.
In March, Resonance and the Portland Columbia Symphony Orchestra harness the immense power of music in addressing global conflicts. Another major work by Caroline Shaw, “To the Hands,” rounds out a program featuring Margaret Bonds’s Credo and Ralph Vaughan Williams’s Dona nobis pacem. The fine student chamber choirs of Lewis & Clark College and Reed College will join Resonance voices for the Vaughan Williams.
To conclude the season, Resonance Ensemble joins Vanport Mosaic, writer Chisao Hata, and survivors of Japanese-American incarceration and their descendants, to acknowledge the little-known history of the Portland Expo Center and honor the survival and persistence of Japanese Americans in our region. Associate conductor Shohei Kobayashi will lead musical performances, interspersed with theatrical performances written by Hata.
Don’t miss a single note of it. Read more about each of the season’s programs below, or visit this link to purchase your subscription. Single tickets go on sale Tuesday, October 1.
THE BLACKNIFICENT 7
THE BLACKNIFICENT 7
Sunday, November 17th | 2pm | @Alberta Rose Theatre
Damien Geter curates this concert of vocal music by a collective of leading Black composers known as the Blacknificent 7, a group that includes Geter, Jasmine Barnes, Jessie Montgomery, Shawn Okpebholo, Dave Ragland, Carlos Simon, and Joel Thompson.
Conducted by Katherine FitzGibbon and Shohei Kobayashi, one of the concert’s centerpieces will be the Oregon premiere of Geter’s Cantata for a More Hopeful Tomorrow, with a soprano soloist and cellist Nancy Ives.
Adding to the excitement, Resonance will also debut their latest commission, by award-winning composer, Dave Ragland.
CHOIR GRRRL
CHOIR GRRRL
Saturday, February 8th | 7:30pm | @Aladdin Theater
A concert celebrating phenomenal women working as composer/performers in Portland today.
Resonance treble singers join forces with the innovative talents of Ringdown—a new group featuring collaborators Caroline Shaw and Danni Lee. Described as an electronic cinematic pop duo, between the two of them they have a Pulitzer Prize, several Grammys, and a “Best Drum Major” Award.
The program will also feature a world premiere commission by Resonance-favorite, Cecille Elliott.
RESONANCE NOVA
RESONANCE NOVA
WITH PORTLAND COLUMBIA SYMPHONY ORCHESTRA
Saturday, March 15th | 7:30pm | Reynolds High School (Troutdale)
Sunday, March 16th | 2:00pm | Patricia Reser Center for the Arts (Beaverton)
Resonance Ensemble and the Portland Columbia Symphony Orchestra collaborate to present Music of Peace and Justice, with the Margaret Bonds’ Credo, Caroline Shaw’s To the Hands, and Ralph Vaughan Williams’ Dona nobis pacem.
Featuring special guests Lewis & Clark Cappella Nova Choir and Reed Collegium Musicum.
WE’RE STILL HERE
WE’RE STILL HERE
CO-PRESENTATION WITH VANPORT MOSAIC
Saturday, May 31st | 7:30pm | @Portland Expo Center
Resonance Ensemble joins Vanport Mosaic, artist Chisao Hata, and survivors of Japanese-American incarceration and their descendants, to acknowledge the little-known history of the Portland Expo Center and honor the survival and persistence of Japanese Americans in our region.
As part of the 10th Vanport Mosaic Festival, this event will activate the former WWII-era assembly center with historical photographs and video projections, a communal altarpiece, and musical and theatrical offerings — including new site-specific works conceived by Hata.
In tandem with Vanport Mosaic’s celebration of a decade of memory activism, this evening will be recorded for an ongoing digital memorial as we aim to recognize and ring out the whole of this space in sound, word, movement, and song.
Single tickets will go on sale October 1st, but subscription packages are available today!
Click here to explore the available options for this season.
Note to Journalists: Katherine FitzGibbon, Shohei Kobayashi, Damien Geter, and featured guests are available for print, online, and broadcast interviews. If you would like more information on our season or would like to schedule an interview, please contact Liz Bacon Brownson at liz@resonancechoral.org or by calling 971-212-8034
FURTHER READING
RESONANCE ENSEMBLE
About Resonance Ensemble | About Artistic Director Katherine FitzGibbon
About Associate Conductor Shohei Kobayashi | About Artistic Advisor Damien Geter
CO-PRESENTING PARTNERS
About Portland Columbia Symphony Orchestra | About Vanport Mosaic
FEATURED ARTISTS
About Ringdown | About Caroline Shaw | About Danni Lee
About Dave Ragland | About Chisao Hata | About Cecille Elliott
15for15 - Reflecting on 15 years
All photos in this post are by Rachel Hadiashar unless otherwise noted
As we finalize preparations for our 15th anniversary celebration concert, MISSION15, we share 15 highlights from across Resonance Ensemble’s history. From collaborations with artists and ensembles to powerful moments with community partners, these significant milestones in Resonance Ensemble's journey have all led us to this weekend’s landmark performance. Below are 15 of our favorite memories that have helped shaped our story.
Join us THIS SATURDAY to help us make our next favorite memory!
One of Resonance Ensemble’s early concerts, Music & Memory featured a program that highlighted music in dialogue with Thérèse Murdza's visual art in 2011 at Lewis & Clark College.
This 2022 photoshoot with Rachel Hadiashar showcased the incredible treble-voice artists featured in our program on bodily autonomy, We Dissent.
A few of the remarkable individuals who comprised the African American Requiem Advisory Council, helping Resonance ensure this important work achieved maximum reach both in Portland and beyond.
Kathy conducts Resonance and the incredible Venerable Showers of Beauty Gamelon ensemble in our 2014 program, GONGS + SONGS at Reed College. (If you look closely, you can see one of our favorite journalists, Brett Campbell!)
This photo captures a poignant moment of Kathy, conducting the choir while pregnant with her firstborn son, Will, marking the intertwining of personal milestones with the ensemble's journey. Resonance was preparing for a program at Portland State University.
This image showcases two of our most passionate supporters, our esteemed poet-in-residence, S. Renee Mitchell, and Shauna Adams, captured after the 2018 program BODIES at Alberta House (formerly Cerimon House).
At Portland State University, singers Ben Kinkley (right) and Cecily Kiester (middle) share a lighthearted moment next to Erik Hundtoft (left).
This image exemplifies Resonance's commitment to fostering authentic relationships with our community partners. Here, Debra Porta, executive director of Pride Northwest, shakes hands with Kathy during our 2018 program, BODIES, on which we partnered.
We cherish our volunteers! Meet Roger Robinson, one of our original supporters, captured before our 2010 program, The Witching Hour, at Lewis & Clark College. Roger represents the dedication and support of many of our original backers who played a vital role in helping Resonance find its wings and soar.
The remarkable John Stuber accompanies Resonance on the piano during the Blessed Unions program in 2012, which once again showcased artwork by Thérèse Murdza.
Resonance collaborates with the Portland Chamber Orchestra for a stirring performance of The Monster, under the baton of the late Maestro Yaacov Bergman in 2011.
Dinah Dodds, who we dearly miss, and whose legacy left a profound impact on Resonance Ensemble’s dedication to commissioning new work, captured at a 2018 fundraiser held in the exquisite Giltner House.
Las Matices Latin Ensemble collaborated with Resonance for the world premiere of Freddy Vilches’ Abya Yala in 2022, showcasing a diverse array of instruments, some of which they made themselves!
Shohei Kobayashi joins Katherine FitzGibbon, marking the start of Shohei’s inaugural season as associate conductor and co-artistic advisor!
No party like a Resonance Ensemble party! This festive photoshoot captured Rachel Hadiashar at Oh! Creative Studio brought together commissioned artists S. Renee Mitchell, Cecille Elliott, Kimberly R. Osberg, Freddy Vilches, Joe Kye, and Judy A. Rose to help us celebrate our 15th birthday in style!
JOIN US FOR THE BIRTHDAY BASH!
MISSION 15
Saturday, June 8, 2024
7:30 PM
@Winningstad Theater
Commission Story: Safe Harbor
Radical collaboration is core to who we are at Resonance Ensemble. This year marks 15 seasons, made possible in part by the deep partnerships we’ve cultivated with living artists across a variety of disciplines. Leading up to our season finale concert (MISSION 15), we go beyond the music to share the stories that brought this work to the concert stage.
Today, we dive deeper into Safe Harbor by vocalist, violinist, and composer Joe Kye
Composer Joe Kye and conductor Katherine FitzGibbon embrace following the premiere of Safe Harbor in 2020 | photo from video by Alan Niven
What is an American?
Immigration and asylum are ever-present in current political and public debate in the United States. In 2020, Resonance Ensemble presented the concert program, Safe Harbor, where we explored varying experiences of coming to the U.S.—including experiences of immigration, asylum, and exile.
Familiar with Joe Kye for his whimsical and loop-based compositions, Resonance Ensemble was ecstatic to have the opportunity to work with Kye—who integrated folk music from his native Korea alongside American folk music and improvisation. The work also featured original text, which was used to weave full choral textures, background vocals, solo voice features, and speaking throughout the piece.
Joe Kye | photo by Ben Seller
Joe shared in 2020 a bit about the piece and its inspiration:
Inspired by my journey as an immigrant as well as the current humanitarian crisis at our southern border, Safe Harbor is my personal exploration of movement and migration.
The piece starts where we all do—with our mothers. My first memory is auditory; I remember being carried by my mother, my ear pressed between her shoulder blades. I could hear her singing softly, the sweet folk lullaby muffled by the sound of her heart and body as I drifted off to sleep. This lullaby, the sound of a cuckoo bird, and the distinct rhythm that accompanies the lullaby as it begins to expand represent my childhood in Korea.
My parents told me we would move to America when I was six, and I remember the fear, sadness and anxiety as the move neared. Even today, the narrative surrounding migrants entering America rarely mentions the emotionally fraught decision to leave home. We like to think of America as a miracle land—of course everyone wants to come here—without considering the grief and inner conflict of leaving your world behind.
I try to capture this in Safe Harbor, especially from the viewpoint of my parents, who left Korea at age 33 with their two young children in search of opportunity. They left their families, dear friends, language, food, and all that they had accomplished in order to build upon their hopes for the future.
A young Joe Kye takes up the mic | photo provided by Joe Kye
And yet, America proved to be far harsher than the dreamland we had built in our minds. The next portion of the piece tries to capture the reality of being a person of color and immigrant in this country. From unfair media representations to aloof cashiers, jokes that highlight my Otherness to micro-aggressions, it’s been a constant struggle to settle into my identity as an Asian-American and to truly feel like I belong in this country. Furthermore, my parents, who moved back to Korea in 2008, struggle to connect more deeply with their children, who grew into members of a culture they could never fully access. My sister and I, on the other hand, had to live two identities—a Korean at home, yearning to be more like our American friends, and an American in the world-at-large, yearning to bring our full selves into the public realm without fear of xenophobic reprisal.
There are three such quotes that interrupt the piece—all distinct moments in my life in which I felt unwelcome in this country. They range from direct bigotry to a subtler Othering, but all jarred me from feeling secure in my own body. These are the types of comments that we need to abolish from our lexicon if we are to create a more just, welcoming, and equitable world.
The final part of the piece is a meditation of sorts, a personal mantra for moving from disembodiment and unbelonging to rooted self-empowerment and the communal building of a more compassionate collective consciousness: “Breathe. Be. Build. We. Home. Sea. Sail. Me.” I offer myself space; encourage myself to create the world I want to live in; forgive myself for having a nontraditional sense of home, and instead celebrate the very nature of my fluid identity.
As all the voice parts slowly join in this chorus, I hope that we can also join together in building an America that lifts up the voices of those unheard and unsupported, that we may see their suffering as ours—and that, together, we can envision and build a land that is greater than the one we inhabit now.
Cue the cuckoo birds.
Joe Kye performs as part of his new project “Joe Kye & the Givers” with songs inspired by Kye’s immigrant upbringing | photo provided by the artist
WHAT STILL RESONATES
The work was the last live performance Resonance Ensemble gave before quarantine restrictions moved our mission online during the pandemic. Since then, Joe Kye has become a standout force in our community for celebrating Asian-American culture, sharing stories of displacement and immigration, as well as fostering an environment of joyful inclusion through his music.
“We are proud not only to share this moving piece with our live audiences on June 8th, but are also releasing an album of Resonance-commissioned works with the title Safe Harbor.” says Artistic Director Katherine FitzGibbon. “Joe Kye, his work, and this piece encapsulate so much of Resonance Ensemble’s mission to foster meaningful social change through music and share the stories most dear to the artists we work with. We couldn’t be more honored to collaborate with such an insightful, compassionate, and community-focused artist.”
HEAR JOE LIVE AT MISSION 15!
Saturday, June 8th | 7:30pm @Winningstad Theatre
Hear Joe Kye revive this work—along with an evening of other pieces from across our 15 year history—in-person at the Winningstad Theatre on June 8th. This one-night only event is packed with meaningful music, powerful stories, and exciting in-person appearances by the artists we love.
The music of tomorrow is being written by the voices of today.
Dinah Dodds
Find out more about how you can help us support living artists in our community & beyond
The Dinah Dodds Fund for the Creation of New Art memorializes Dinah Dodds, President of the Board of Directors of Resonance Ensemble, who served on the board from 2014 until her death in 2019. Under Dinah’s devoted leadership, the organization developed its social justice focus and commissioned multiple major new choral works.
In tribute to Dinah, contributions to this fund shall support the creation of new art (music, visual art, and poetry), as prioritized by the artistic leadership of Resonance Ensemble. “Creation of New Art” can include commissioning and co-commissioning, premiering, and/or professionally recording (audio/video) works by living artists.
Commission Story: Abya Yala
Radical collaboration is core to who we are at Resonance Ensemble. This year marks 15 seasons, made possible in part by the deep partnerships we’ve cultivated with living artists across a variety of disciplines. Leading up to our season finale concert (MISSION 15), we go beyond the music to share the stories that brought this work to the concert stage.
Today, we dive deeper into Abya Yala — featuring the music of Freddy Vilches,
and texts by Elicura Chihuailaf Nahuelpán, Estela Gamero López, Julieta Zurita Cavero, Rosa Chávez, and Gustavo Zapoteco Sideño
Composer Freddy Vilches with Artistic Director Katherine FitzGibbon | photo by Rachel Hadiashar
A World Beyond Borders…
In 2021, composer Freddy Vilches reached out to us with an idea for a choral suite that would explore indigenous connections with the land and with their history that transcends colonial and geopolitical borders. Resonance Ensemble was thrilled to commission this work. His friendships with indigenous poets from across Latin America, and his own lived experience and musical versatility, led him to create the magnificent work you can hear today.
At the premiere of Abya Yala (2022) | photo by Rachel Hadiashar
Drawing upon musical styles and instrumentation from the regions being spotlighted, Freddy wove together a choral suite that, as Freddy says, “vindicates” the historical connections, languages, and cultural traditions of each poet.
This commission inspired the rest of the ABYA YALA program in 2022. Gabriela Lena Frank’s Hombre errante, with its dramatic storytelling of an Andean people ripped from their homes; Jerod Impichchaachaawa’ Tate’s Taloowa chipota’, which depicts traditional stomp dances; and Mari Esabel Valverde’s Border Lines, with its message about how border lines only exist in sand.
“We are so grateful to Freddy for this ambitious and beautiful work,” says Artistic Director Dr. Katherine FitzGibbon. “We were excited to present this co-commissioned work at the Northwest chapter of the American Choral Directors Association, sharing this amazing piece with listeners from across the region.”
About the work, Freddy shares:
Abya Yala (“Continent of Life” or “Land in Full Maturity”) is the indigenous name given to the Americas by the Gaundule (Kuna) peoples of Panama and Colombia.
This multilingual choral suite is the product of a fruitful collaboration between the author and the aforementioned poets, in an attempt to vindicate historically discriminated languages and communities throughout Abya Yala.
These bilingual poems (Mapuche, Aymara, Quechua, Maya K’iche’, Nahuatl, and Spanish) were chosen for their beauty and subtle, yet powerful messages.
In these texts we find the constant presence of our ancestors, a profound love for the land “Pachamama,” and a strong call to preserve the languages and cultures of our indigenous communities for future generations. Although directly related to Abya Yala, these topics are universal, hence the beauty and relevance of these poems.
Las Matices and Resonance Ensemble during the premiere of Abya Yala | photo by Rachel Hadiashar
WHAT STILL RESONATES
The poets and writers Freddy collaborated with may be unfamiliar to many in the modern-day United States, but their contributions to the written word—and the cultures they hail from—are felt universally. The education, preservation, and celebration of these beautiful languages deserves further amplification, and we are excited to collaborate with Freddy again in the near future to bring more of these traditions to listeners everywhere.
We invite you to read more about these amazing writers, translators, cultural ambassadors, and activists working to not only preserve the language and cultural histories of indigenous peoples in the modern day Americas—but to honor, celebrate, and revive these languages, stories, traditions, and oral practices!
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Elicura Chihuailaf Nahuelpán (Chilean writer, poet, and oralist of Mapuche origin) is one of the most renowned poets in Chile. Winner of the Chilean National Literature Prize in 2020, the bilingual nature of his work (Mapudungun and Spanish) was foundational in fostering the prevalence of the Mapuche language and written art forms.
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Estela Gamero López (Peruvian translator, interpreter, intercultural mediator of Aymara origin) is the founder of the Quechumara Research and Development center, which she founded with the sole purpose of supporting the revitalization and strengthening of native languages. She also serves as the Deputy Mayor of Calana, Tacna. She rose to popularity in part from her video-ed readings of her stories in the Ayamara language, the most popular of which are the Tales of the Awicha.”
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Julieta Zurita Cavero (teacher, Quechua philologist, pedagogy researcher, writer, poet, and translator of Quechua origin) is a champion of the Quecha language. Her work in promoting dual-language education (Spanish and Quechua) has spread across Bolivia, Peru, Venezuela, and Panama, as well as international conferences. Her writings, largely in Quecha, include poems and stories—most famously the Tales of Zoorro Antonio (2016), an anthology published in a trilingual edition of Quecha, Spanish, and English.
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Rosa Chávez (poet, educator, actress, cultural manager, and activist of Maya K’iche’-Kaqchikel origin). The author of five poetry books, her work has been widely anthologized and published in both Maya K’iche’ and other languages—Casa solitaria and Ri uk’u’x ri ab’aj/El corazón de la piedra, being most well known among them. In addition to her poetry, she has also penned experimental works of theater, spoken word, and film. She is also the coordinator of the Guatemala program, Just Associates (JASS), an international feminist organization.
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Gustavo Zapoteco Sideño (poet, writer, and translator of Mexican origin) is one of the most well-established writers in modern Mexico, writing in both Nahuatl and Spanish languages (the variant Guerrero Nahuatl most prevalent among his writings). Publishing multiple volumes of poetry, he has also helped to assemble written compilations of stories, riddles, and myths of oral traditions from various groups of indigenous peoples (Tlapanecs, Popolocas, Mixtecs and Nahuas of Guerrero and Puebla)—helping to preserve these cultural artworks for generations to come. He is currently Director of Culture and Traditions of the Municipal Committee of Tlaltizapan.
HEAR IT LIVE AT MISSION 15!
Saturday, June 8th | 7:30pm @Winningstad Theatre
Hear Las Matices and Freddy revive a movement from this incredible work—along with an evening of other pieces from across our 15 year history—in-person at the Winningstad Theatre on June 8th. This one-night only event is packed with meaningful music, powerful stories, and exciting in-person appearances by the artists we love.
The music of tomorrow is being written by the voices of today.
Dinah Dodds
Find out more about how you can help us support living artists in our community & beyond
The Dinah Dodds Fund for the Creation of New Art memorializes Dinah Dodds, President of the Board of Directors of Resonance Ensemble, who served on the board from 2014 until her death in 2019. Under Dinah’s devoted leadership, the organization developed its social justice focus and commissioned multiple major new choral works.
In tribute to Dinah, contributions to this fund shall support the creation of new art (music, visual art, and poetry), as prioritized by the artistic leadership of Resonance Ensemble. “Creation of New Art” can include commissioning and co-commissioning, premiering, and/or professionally recording (audio/video) works by living artists.
Commission Story: The Geter Commissions
Radical collaboration is core to who we are at Resonance Ensemble. This year marks 15 seasons, made possible in part by the deep partnerships we’ve cultivated with living artists across a variety of disciplines. Leading up to our season finale concert (MISSION 15), we go beyond the music to share the stories that brought this work to the concert stage.
Today, we dive deeper into the incredible work of composer, conductor, vocalist, and
Resonance artistic advisor, Damien Geter
One of our most frequent collaborators, favorite artists, and dearest friends is composer-conductor-vocalist Damien Geter. Now serving as artistic advisor, Damien is an integral part of Resonance, conjuring pieces, concerts, and entire seasons alongside Artistic Director Katherine FitzGibbon, who still affectionately refers to Damien as her “artistic soulmate.”
We share a few of the many collaborations we've enjoyed with Damien Geter as a composer.
Artistic Director Katherine FitzGibbon with Damien Geter at a Resonance fundraising event. | R. Hadiashar
The Talk (2019)
Damien singing with Resonance at the premiere of The Talk (2019) | R. Hadiashar
One of the first major commissions from Damien was in 2019 for our Intensive Care program. Performed on June 9th at the Historic Alberta House, Intensive Care was a program curated by Katherine FitzGibbon to encapsulate the experiences of those whose early days of parenthood are different than envisioned—with babies born early, babies sick, babies lost. Often invisible stories, they are also stories mixed with hope and transformational love.
“When Resonance was crafting the program for this concert, the absence of perspectives from parents of color, particularly Black parents, in the choral repertoire struck me deeply." said FitzGibbon. "Damien and I dug deeply into works by many composers we admire, and we kept saying to each other, we wish we could find a piece of music about the talk that Black parents have with their children about how to stay safe when they encounter the police. Damien said, ‘You know what? I'm going to write that piece. We need it.’" In a matter of days, Damien returned with The Talk: Instructions for Black Children When They Interact with the Police.
About the work, Damien shares:
There comes a time in every child’s life when they will have “the talk” with a trusted adult. That talk is usually centered around topics relating to sexual maturation – the birds and the bees. However, in the life of a black child, there’s an additional talk that needs to happen; what to do if they are pulled over or have an encounter with the police.
It boils down to four basic principles with the fourth being the ultimate goal:
1. Pull over. Don’t run. Keep calm
2. Keep your hands where they can see them
3. Be polite. Save your rage
4. Get home safely
Under the Overpass (2019)
Damien on the set of Under the Overpass | R. Hadiashar
In 2020, plans were underway for Damien’s seminal composition, ' An African American Requiem. However, the pandemic forced us to postpone the premiere until 2022. Recognizing the importance of continuing to foster creativity and enable artists like Damien to continue making music, we conceived Under the Overpass.
Under the Overpass is a 5-episode film series that celebrates Resonance’s hometown of Portland, Oregon, and the space it provided for Resonance artists to still be able to sing together during the pandemic. Starting in the summer of 2020, singers met in acoustic spaces around the city - six feet apart, masked, yet together. Viewers were able to still experience live music performed in these gritty, hauntingly beautiful spaces.
The culminating episode featured the world premiere of a new commission by Damien Geter for 16 voices, piano, and flute: After Time Has Gnawed Away the Shield of Dreams. Flutist Adam Eccleston joined Resonance Ensemble musicians for this debut.
Geter sets a poem about memory and hope for a phoenix rising by the beloved late American conductor and honored laureate music director of the Oregon Symphony, James DePreist. We are deeply honored that Maestro DePreist's wife, Ginette DePreist, not only granted us permission to utilize her husband’s poignant poetry but also joined us during the filming. Our profound gratitude extends to Ginette DePreist for her graciousness and to Damien Geter and all the musicians for crafting something of profound beauty with Maestro DePreist’s words.
In addition to marking that pivotal moment, this work also pays homage to the victims of the 1921 Tulsa Massacre. It serves as a poignant reminder of the tragic violence that occurred a century ago.
AN AFRICAN AMERICAN REQUIEM (2020-2022)
Damien and Kathy at rehearsal for An African American Requiem (2022) | R. Hadiashar
Commissioned by Resonance Ensemble in 2017, An African American Requiem is a pivotal work memorializing the lives of Black Americans lost to racial violence in the United States—the first requiem of its kind. Geter approached Resonance Ensemble about his idea for the work following the results of the 2016 election. Working closely with FitzGibbon, Geter composed a fully-realized requiem—including SATB soloists, a large choir, narration, and full orchestra.
In addition to commissioning Geter, Resonance Ensemble supported the commissioning of Dr. S. Renee Mitchell to craft original text for the final movement, narrated live over the orchestra. Drawing from texts of victims of racial violence, Black rights activists, and traditional spirituals and Latin mass texts, the completed work comprises 19 movements, including two movements previously commissioned by Resonance ('There’s a Man Going ‘Round' and 'Agnus Dei'). One of the largest pieces ever commissioned by Resonance Ensemble, the project received additional amplification through partnerships with The Oregon Symphony and All Classical Radio, which broadcasted the premiere live and offered significant support for syndicated broadcasts nationwide in the months that followed.
The advisory council for An African American Requiem, bringing together over a dozen organizations to maximize the premiere’s reach and impact
Originally slated for a 2020 premiere, the global COVID-19 pandemic necessitated a rescheduling to May 2022, affording Resonance Ensemble an extended period to augment the impact of the Requiem with a comprehensive education initiative. Developed by Resonance Ensemble, the curriculum provided both print and digital components to students, providing them with essential context, vocabulary, and local history and enriching their understanding of the culminating field trip to witness the world premiere.
Following its premiere in Oregon, the commissioned work garnered acclaim with successful performances at the Kennedy Center (for its east coast premiere) and with the Fort Worth Symphony Orchestra (conducted by Geter himself). Notably, it was hailed as “Best in Classical” by the Washington Post in 2022.
To see a full list of resources—including videos, interviews, full programs, the curriculum, click the link here.
WHAT STILL RESONATES
Kathy and Damien preparing the Requiem for rehearsal (2020)
Damien has grown and gained widespread recognition, becoming even more celebrated in his roles as a composer, conductor, and performer. We are honored to have him as part of our origin story and we couldn’t imagine hosting a 15th anniversary program without him—his vision has shaped so much of who Resonance Ensemble is today.
For MISSION 15, Damien will join us to conduct his commissioned pieces with Resonance Ensemble, including Agnus Dei, There’s a Man Goin’ Round, After Time Has Gnawed, and The Talk. We can't wait to have Damien with us, making music together again.
SEE DAMIEN AT MISSION 15
Join us for an unforgettable evening at the Winningstad Theatre on June 8th, celebrating 15 years of Resonance Ensemble. This exclusive one-night event promises a tapestry of meaningful music, compelling stories, and thrilling in-person appearances by the artists we love, including Damien Geter.
The music of tomorrow is being written by the voices of today.
Dinah Dodds
Help support the creation of new works.
The Dinah Dodds Fund for the Creation of New Art memorializes Dinah Dodds, President of the Board of Directors of Resonance Ensemble, who served on the board from 2014 until her death in 2019. Under Dinah’s devoted leadership, the organization developed its social justice focus and commissioned multiple major new choral works.
In tribute to Dinah, contributions to this fund shall support the creation of new art (music, visual art, and poetry), as prioritized by the artistic leadership of Resonance Ensemble. “Creation of New Art” can include commissioning and co-commissioning, premiering, and/or professionally recording (audio/video) works by living artists.
Commission Story: Poet-in-Residence, Dr. S. Renee Mitchell
Radical collaboration is core to who we are at Resonance Ensemble. This year marks 15 seasons, made possible in part by the deep partnerships we’ve cultivated with living artists across a variety of disciplines. Leading up to our season finale concert (MISSION 15), we go beyond the music to share the stories that brought this work to the concert stage.
Today, we dive deeper into the incredible work of our Poet-in-Residence, Dr. S. Renee Mitchell
Dr. S. Renee Mitchell | R. Hadiashar
About the Residency
Established in 2017, Resonance Ensemble’s Poet-in-Residence regularly contributes new texts and performs at our concerts throughout the season. Multiple new poems are commissioned each year, written in response to the themes of our programming and season focus. To date, Resonance Ensemble has supported the creation of over a dozen new texts through the residency. The current poet-in-residence is Dr. S. Renee Mitchell, who has been our resident artist since the program’s inception.
The beginning of a legacy
S. Renee at the 2018 Women Singing Women program | R. Hadiashar
In 2017, one of our artistic collaborators had a conflict arise shortly before the VOICES concert, and we were nervous about who would fill their shoes. Having worked closely to develop not only the theme for the concert, but for our whole season, it would have been difficult with even several weeks notice—and we had mere days before the program would be performed live.
Reaching out to our incredible network of artists and organizations here in Portland, a friend-of-a-friend suggested that we reach out to Dr. S. Renee Mitchell. We had not met Renee before, but we visited her website and started down the thrilling rabbit hole of watching YouTube videos of her poetry readings. We fell in love with her performances, her words, and her mission.
Resonance invited Dr. Mitchell to participate in the concert, and by glorious happenstance she was available and agreed to join us. She then came to part of the dress rehearsal—two days before the concert—to meet us and hear a little of the rehearsal. She talked more with us about the concept of the show. She listened to the music and read the program, which had the complete texts of the performance.
The music and texts already chosen were inspiring to her, and she let us know that she was going to go home and think about what she'd perform—arriving with a gorgeous, brand-new poem on concert day!
Deeply moved by both her words and captivating performance, we reached out after the concert to explore the possibility of establishing a poet residency. The residency would offer a long-term platform to debut new work at Resonance concerts, and highlight another medium of the human voice: spoken word performance.
To our delight, she agreed—and we’ve been making art together ever since.
S. Renee premiering her work, Love Embodies You (2018) | R. Hadiashar
S. Renee premiering her work, Are You Listening?, at the Hidden Voices program (2018) | R. Hadiashar
WHAT STILL RESONATES
Dr. Mitchell has contributed more than just her beautiful texts and powerful performances over the years.
During the African American Requiem project, Dr. Mitchell contributed to the creation of an amazing curriculum guide for students in the Portland area to learn more about the historical context of the work, the voices of writer-activists used in the Requiem’s texts, and about the ways this work is relevant to their own communities in Portland. She also shared her story as part of the My Requiem Story series, and hosted a landmark roundtable discussion with other artists from the Requiem about what this work means to them as Black artists who work in the modern classical music ecosystem today.
For the East Coast premiere of the Requiem, Dr. Mitchell flew out to Washington DC and spoke to the choir and orchestra before their rehearsal, powerfully uniting three disparate ensembles (Resonance, the Choral Arts Society of Washington, and the NEWorks Philharmonic Orchestra) in a single vision for the performance at the Kennedy Center. She also flew to Fort Worth, Texas for the Texas premiere of the work (which the composer, Resonance Artistic Advisor Damien Geter, himself conducted) to perform the text of the Requiem in person.
Her tireless contributions to the success of An African American Requiem—both in Portland and beyond—were transformational, and the impacts of her work on this project are still felt to this day.
“We are so grateful for Dr. Mitchell’s passion for social justice, immense creative spirit, powerful words, and deeply meaningful friendship that she has poured into Resonance over these past seven years. We can’t wait to see what the next chapter in our journey together has in store.”
S. Renee, poet/activist A. Mimi Sei, and Artistic Director Dr. Katherine FitzGibbon following the premiere screening of Around the Requiem | R. Hadiashar
EXPLORE THE RESIDENCY
Check out just a few of Dr. Mitchell’s works from past Resonance posts, concerts, and videos—and come to MISSION 15 to hear the world premiere of a brand new text by Dr. Mitchell in celebration of this landmark anniversary.
Dr. Mitchell at the Arlene Schnitzer Concert Hall during preparations for the world premiere of An African American Requiem (May 2022)
Goin’ Round
premiered on VOICES (November 12th, 2017)
This Much is Clear
premiered on Women Singing Women (February 26th, 2018)
Love Embodies You
premiered on BODIES (June 24th, 2018)
Are You Listening?
premiered on HIDDEN VOICES (October 21st, 2018)
When I Was 40
premiered on Women Singing Women (February 3rd, 2019)
We Are All Mapless Wanderers Making Peace with Change
premiered on Intensive Care (June 9th, 2019)
We Are (Still) Here
premiered on Beautiful Minds (October 5th, 2019)
We Like to Call America a Safe Harbor
premiered on Safe Harbor (March 1, 2020)
Remember
premiered on An African American Requiem (May 5th, 2022), performed with music by Damien Geter
Seek What You Want to Find
premiered on Portland Protests (March 15-16, 2023), set by Kimberly R. Osberg
TBD - WORLD PREMIERE!
premiering on MISSION 15 (June 8, 2024)
WITNESS THE PREMIERE AT MISSION 15
Saturday, June 8th | 7:30pm @Winningstad Theatre
Hear the world premiere of Dr. Mitchell’s latest work—along with an evening of other pieces from across our 15 year history—in-person at the Winningstad Theatre on June 8th. This one-night only event is packed with meaningful music, powerful stories, and exciting in-person appearances by the artists we love.
The music of tomorrow is being written by the voices of today.
Dinah Dodds
Find out more about how you can help us support living artists in our community & beyond
The Dinah Dodds Fund for the Creation of New Art memorializes Dinah Dodds, President of the Board of Directors of Resonance Ensemble, who served on the board from 2014 until her death in 2019. Under Dinah’s devoted leadership, the organization developed its social justice focus and commissioned multiple major new choral works.
In tribute to Dinah, contributions to this fund shall support the creation of new art (music, visual art, and poetry), as prioritized by the artistic leadership of Resonance Ensemble. “Creation of New Art” can include commissioning and co-commissioning, premiering, and/or professionally recording (audio/video) works by living artists.
Commission Story: We Hold Your Names Sacred
Radical collaboration is core to who we are at Resonance Ensemble. This year marks 15 seasons, made possible in part by the deep partnerships we’ve cultivated with living artists across a variety of disciplines. Leading up to our season finale concert (MISSION 15), we go beyond the music to share the stories that brought this work to the concert stage.
Today, we dive deeper into We Hold Your Names Sacred,
by composer Mari Esabel Valverde and writer-activist Lady Dane Figueroa Edidi.
Composer Mari Esabel Valverde
Writer/Activist Lady Dane Figueroa Edidi
Where were you in 2021?
Earlier this week we shared a bit about Resonance Ensemble’s “Commissions for Now” series, which premiered commissioned works from three nationally recognized poets/composers. Today’s featured work, We Hold Your Names Sacred, was another piece premiered as part of the series—co-commissioned alongside 27 other North American choirs as part of the GALA Choruses’ Trans Commissioning Consoritum.
Filmed on location at the Historic Alberta House by Oh! Creative Productions
Created by composer Mari Esabel Valverde and writer/activist Dane Figueroa Edidi, this powerful work was created to honor trans women of color whose lives were unjustly and violently taken.
Edidi describes the piece as calling an assembly to “lift up their names and make them sacred—to acknowledge the divinity of Black and Brown trans women. We say their names to get the heavens to move for us.”
The premiere also included a live, virtual panel discussion with Valverde, Edidi, and local leaders within the LGBTQIA+ community—presented in partnership with Pride Northwest as part of the official 2021 Portland Pride event.
TEXT | Lady Dane Figueroa Edidi
Sisters whose lives were taken
Memories of you
we sing
Note, chord, melody, harmony
psalm
Prayers
we offer with tears
Love
with words we give
High
we lift your spirit up
So you may know forever joy
Jaquarrius Holland
Chyna Gibson
Ty Underwood
Penny Proud
Crystal Edmonds
Islan Nettles
Angel Rose
Lexi
Layla Pelaez Sánchez
Muhlaysia Booker
Brianna “BB” Hill
Layleen Polanco
May your smile be made eternal
May justice be brought
with this refrain
Sisters we hold sacred your names
From the official music video for We Hold Your Names Sacred
From the official music video for We Hold Your Names Sacred. These images bear the faces of the trans women honored in the text.
From the official music video for We Hold Your Names Sacred. The umbrellas bear the names of the trans women honored in the text.
WHAT STILL RESONATES
It should come as no surprise to hear that this work remains just as relevant today as it did in 2021.
UCLA’s Williams Institute released a 2024 report showing that 38% of trans youth currently live in states that have enacted bans on care. Since the Human Rights Campaign (HRC) began tracking data of trans and gender non-conforming people killed in the United Sates in 2013, people of color have made up the largest share fatal violence victims. In 2023, 69% of all victims were Black, and 51% were Black trans women, according to their report. The data also showed that most victims were under the age of 35—the average age being just 28.
HRC has identified at least 335 transgender and gender-nonconforming people killed in the past decade. The past four years have been especially fatal for the community, with 171 recorded deaths.
The upcoming performance at MISSION 15 marks the first time Resonance will have the opportunity to perform the work live. With the surge in anti-trans legislation, anti-trans violence, and hate-motivated fatalities in the United States and beyond, We Hold Your Names Sacred is more important to share than ever before.
Mari Esabel Valverde, composer
“We must do the work necessary to keep our sisters’ memories alive to hold ourselves accountable, for the ultimate death is the death of their names being forgotten. For too many of our transgender sisters, brothers, and siblings, their humanity was forgotten long before their lives were stolen by cowards. We need to readily protect trans women of color because they are susceptible to a system working too well at impeding their flourishing”
HEAR IT LIVE AT MISSION 15
Saturday, June 8th | 7:30pm @Winningstad Theatre
Hear this work—along with an evening of other pieces from across our 15 year history—in-person at the Winningstad Theatre on June 8th. This one-night only event is packed with meaningful music, powerful stories, and exciting in-person appearances by the artists we love.
The music of tomorrow is being written by the voices of today.
Dinah Dodds
Find out more about how you can help us support living artists in our community & beyond
The Dinah Dodds Fund for the Creation of New Art memorializes Dinah Dodds, President of the Board of Directors of Resonance Ensemble, who served on the board from 2014 until her death in 2019. Under Dinah’s devoted leadership, the organization developed its social justice focus and commissioned multiple major new choral works.
In tribute to Dinah, contributions to this fund shall support the creation of new art (music, visual art, and poetry), as prioritized by the artistic leadership of Resonance Ensemble. “Creation of New Art” can include commissioning and co-commissioning, premiering, and/or professionally recording (audio/video) works by living artists.
