Crucify the heart! A screaming cathartic power-chord-laden piece of music, performed many times with an ensemble near and dear to me. Performances of this don't always go perfectly for me.  Fun fact: I tattooed a bit of this score in the composer's original handwriting on my left leg.

The culmination of hundreds of Hildy gigs before, these were the first shows where I got to drive EVERYTHING, and release a new album in the process, accompanied by a bunch of ghosts in a cemetery.  A peak experience. Also, a pom-pom-sized mouse participated at every show. 

A sacred and beautifully difficult piece that I've been making sense of since 2012, composed a decade ago for my voice by Bernhard Lang.  Every time I return to this landscape it reveals new gifts and new gut-punches.  And asks the poignant question: "What is home?" 

A new place in every way. New high notes. New low notes.  Fresh off of the death of my beloved doggo and an awful breakup, I got to do all kinds of weird stuff to Molly Bloom's soliloquy via Rebecca Saunders and Klangforum Wien.

The best "musical" I've ever gotten to do. House of Yes at the height of its powers. My love affair with House of Yes was at its most passionate when we made this hilarious monstrosity.  Who knew that Hildegard can pull us all out of our collective K-hole?  

Imagining that Reich and Circus would be a perfect match, this was a brainchild I produced a few times at House of Yes, featuring Sandbox Percussion and a ton of other people flying through the sky. I sang resultant patterns upside down turning counterclockwise and it just goes to show that if you can dream it....

A foray into a world that felt immediately like home.  I was lucky enough to work with Marcuslikesit, a fierce sexy shibari dom (skilled at a zillion other things too.) He's an opera singer, so he and I created a piece where he tied me up with rope until I was immobile, suspended me in the air, and he and I sang to each other about the tension in the process.

A collab at House of Yes where I performed as a topless tree to my own composition - this was a new level of freedom for me. I was almost killed in rehearsal by Anya Sapoznikova and I have everything on video.

This is the ultimate party gig.  Since 2005 I've been lucky enough to sing Reich with the original Reich guys, So Percussion and Nexus, and frequently Reich himself are always around to listen, comment, coach, and laugh.  We have performed this piece everywhere, and even made a whole gorgeous website about its history including a video where you can see it all.

A big naked performance of Feldman's "Three Voices" where I earned the adjectives "intrepid and passionate" from the NYT. My recording of this piece has never been released, possible it never will.  I'm never not haunted by the snow and tombstones that Feldman evokes in this work, and the gorgeous pop refrain of "Who'd have thought that snow falls?"

In NYC, Stuttgart , Karlsruhe, and Graz, I paired with the incredibly gentle and miraculous Aleph Guitar Quartet to present many premieres, one of which we recorded and is being released soon: works of Smolka.  Besides that, we did  Lang's "Cold Trip" and Gerhard Winkler wrote a piece for us: "Frostblues."  Much more to come with these guys.

The first big BIG show after grad school with an amazing ensemble and the most terrifying piece I've ever learned.  HALP.