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The Tempest

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3pm |  November 6th | CPS


Called “wonderfully strange” (Pioneer Press) and “a cauldron of subtle sounds” (All About Jazz), the “smooth and serrated melodies” (The New York Times) of composer inti figgis-vizueta invite listeners into elemental sonic worlds that reveal “structure and simplicity within a cacophony of sound and complicated texture” (The Strad Magazine). She is the recipient of the Fred Ho Award from The ASCAP Foundation, the National Sawdust Hildegard Award, the American Composers Orchestra’s CoLABoratory Fellowship, and is the upcoming Dumbarton Oaks Early-Career Musician-in-Residence. inti enjoys weaving classical aesthetics and improvisational approaches into spontaneous, interactive works that highlight the transformative power of communal listening; The Washington Post says her music “feels sprouted between structures, liberated from certainty and wrought from a language we’d do well to learn”.

inti’s work has been commissioned and performed by leading American musicians and ensembles such as the Los Angeles Philharmonic, San Francisco Symphony, Oregon Symphony, Kronos Quartet, Attacca Quartet, JACK Quartet, Roomful of Teeth, Wild Up, Alarm Will Sound, Ensemble Dal Niente, Talea Ensemble, and Orchestra at St. Lukes, as well as European groups like Crash Ensemble, Ensemble Reflektor, James McVinnie’s Ensemble, and more. Recent highlights include the premiere of her cello concerto, Amaru, written for Jay Campbell and the LA Phil, conducted by Vimbayi Kaziboni; and a Carnegie Hall debut featuring the Kronos Quartet premiering her played-in-the-dark piece, music by yourself. inti wrote quiet city (& easter bells from the bowery) for violinist Jennifer Koh, featured her 2022 GRAMMY award-winning album Alone Together. ​

Upcoming projects include a new concerto for the GRAMMY award-winning Attacca Quartet and American Composers Orchestra, a new interdisciplinary work for vocal octet with the GRAMMY award-winning Roomful of Teeth and animator Rose Bond, and Haydn response projects for PODIUM Esslingen ft. Ensemble Reflektor and period instrument ensemble, The Cramer Quartet. 

Committed to cultivating the next generation of free and creative musicmakers, inti regularly teaches with the Luna Composition Lab, founded and run by composers Missy Mazzoli & Ellen Reid, and Wildflower Composers Festival; both programs work to increase access and opportunities for young gender expansive and women composers. inti speaks regularly on her music with recent seminar presentations at NYU, McGill, UCSD, Duke, and the LA Phil Composer Fellowship program and regular coaches her music with emerging artist programs like Carnegie Hall’s Ensemble Connect, the Civic Orchestra of Chicago, Music Academy of the West, and Nief Norf Summer Festival. inti has participated in fellowships and residencies with the Civitella Ranieri Foundation, MASS MoCA, Copland House, Center for Ballet & the Arts/National Sawdust, Avaloch Farm Music Institute, Lawrence University, Pocantico Center, LA Philharmonic National Composers Intensive, Sō Percussion Studio, and Virginia Tech. Her music has been featured at festivals such as TIME:SPANS, Ojai, Caramoor, Aspen, Spoleto, New Music Dublin, PODIUM Esslingen, and many more. 

inti studied with Marcos Balter, Felipe Lara, George Lewis, and Donnacha Dennehy. She received mentorship from Angélica Negrón, Andrew Norman, Tania León, Amy Beth Kirsten, Anthony Cheung, Du Yun, and Gavilán Rayna Russom.

inti loves reading poetry, particularly Danez Smith and Joy Harjo. inti honors her Quechua bisabuela, who was the only woman butcher on the whole plaza central and used to fight men with a machete.​ inti is committed to creating and supporting trans and Indigenous futures through her work and advocacy. 


But Even So (world premiere)

But Even So is the title of a book of poems by the great American poet Kenneth Patchen, from whose evocative words I have often borrowed titles. I had long wanted to use the title for a piece, and this one seemed to fit, with its deeper emotional truths emerging from a series of seeming counter-arguments. Conductor Colin Roshak asked me to write a piece for a concert series he was organizing, and I am grateful for his faith in me.

Kyle Gann (b. 1955) is a composer and the author of seven books on American music, including books on microtonality, Charles Ives's Concord Sonata, John Cage's 4'33", Conlon Nancarrow, and Robert Ashley. He studied composition with Ben Johnston, Morton Feldman, and Peter Gena, and about a third of his music is microtonal. His major works include the piano concerto Sunken City, Transcendental Sonnets for chorus and orchestra, the microtonal music theater piece Custer and Sitting Bull, The Planets for mixed octet, a symphony,  and the three-and-a-half-hour Hyperchromatica for three retuned, computer-driven pianos. He was new-music critic for the Village Voice from 1986 to 2005, and has taught at Bard since 1997. His music is available on the New Albion, New World, Cold Blue, Lovely Music, Mode, Other Minds, Meyer Media, Innova, New Tone, Microfest, Vous Ne Revez Pas Encore, Brilliant Classics, and Monroe Street labels. 

Tempest Songbook

Kaija Saariaho is a prominent member of a group of Finnish composers and performers who are now, in mid-career, making a worldwide impact. She studied composition in Helsinki, Freiburg and Paris, where she has lived since 1982. Her studies and research at IRCAM have had a major influence on her music and her characteristically luxuriant and mysterious textures are often created by combining live music and electronics.


Although much of her catalogue comprises chamber works, from the mid-nineties she has turned increasingly to larger forces and broader structures, such as the operas L’Amour de Loin, Adriana Mater and Emilie. Around the operas there have been other vocal works, notably the ravishing Château de l’âme (1996), Oltra mar (1999), Quatre instants (2002), True Fire (2014). The oratorio La Passion de Simone, portraying the life and death of the philosopher Simone Weil, formed part of Sellars’s international festival ‘New Crowned Hope’ in 2006/07. The chamber version of the oratorio was premiered by La Chambre aux echos at the Bratislava Melos Ethos Festival in 2013. Saariaho has claimed the major composing awards in The Grawemeyer Award, The Wihuri Prize, The Nemmers Prize,The Sonning Prize, The Polar Music Prize. In 2018 she was honoured with the BBVA Foundation’s Frontiers of Knowledge Award. In 2015 she was the judge of the Toru Takemitsu Composition Award. Always keen on strong educational programmes, Kaija Saariaho was the music mentor of the 2014-15 Rolex Mentor and Protégé Arts Initiative and was in residence at U.C. Berkeley Music Department in 2015.


Saariaho continues to collaborate for the stage. Only The Sound Remains, her most recent opera collaboration with Peter Sellars, was premiered in Amsterdam in 2016. In the same year her first opera L'Amour de Loin was presented in its New York premiere by the Metropolitan Opera in a new production by Robert Le Page. The Park Avenue Armory and New York Philharmonic presented a celebration of her orchestral music with visual accompaniment. February 2017 saw Paris come alive with her work when she was featured composer of Radio France Festival Presences.



Ariel's Hail

All hail, great master! Grave Sir, hail! I come
To answer thy best pleasure; be it to fly
To swim, to dive into the fire, to ride
On the curled clouds, -- to thy strong bidding task
Ariel and all his quality
I boarded the king's ship; now on the beak
Now in the waist, the deck, in every cabin
I flamed amazement: sometime I'd divide
And burn in many places

Then I beat my tabor,

at which, like unbacked colts they pricked their ears,

advanced their eyelids, lifted up their noses

as they smelt music.

So I charmed their ears

Caliban's Dream

Be not afeard; the isle is full of noises,

Sounds, and sweet airs, that give delight and hurt not.

Sometimes a thousand twangling instruments

Will hum about mine eras; and sometime voices

That, if I then had waked after long sleep,

Will make me sleep again; and then, in dreaming,

The clouds methought would open, and show riches

Ready to drop upon me, that when I waked

I cried to dream again.

Miranda's Lament


If by your art, my dearest father, you have
Put the wild waters in this roar, allay them.
The sky, it seems, would pour down stinking pitch,
But that the sea, mounting to the face of sky,
Dashes the fire out. O, I have suffered
With those that I saw suffer [a brave vessel
Who had, no doubt, some noble creature in her]
Dashes the fire out. O, the cry did knock
Against my very heart. Poor souls, they perish'd.
Had I been any god of power, I would
Have sunk the sea within the earth or ere
It should the good ship so have swallow'd and
The fraughting souls within her.


Be collected.

No more amazement, tell your pitying heart

There's no harm done.

Prospero's Vision

You do look, my son, in a moved sort,
As if you were dismay'd: be cheerful, sir.
Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep. Sir, I am vex'd;
Bear with my weakness; my, brain is troubled:
Be not disturb'd with my infirmity:
If you be pleased, retire into my cell
And there repose: a turn or two I'll walk,
To still my beating mind.

Ferdinand's Comfort


Where should this music be? i' th' air or th' earth? 

Sitting on a bank, Weeping again the king my father's wrack,

This music crept by me upon the waters,

Allaying both their fury and my passion,

With its sweet air. Thence I have follow'd it, 

Or it hath drawn me rather,--but 'tis gone.

No, it begins again.



Full fathom five thy father lies;

Of his bones are coral made;

Those are pearls that were his eyes:

Nothing of him that doth fade

But doth suffer a sea-change

Into something rich and strange.


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Colin Roshak



Colin Roshak is a conductor, clarinetist, educator, and avid home cook. He is a member of the Graduate Conducting Program at Bard College and is a student of James Bagwell, Richard Hawkins and Tim Weiss.


From 2018 to 2021, Colin spent his summers teaching in Sitka, Tlingit Aaní in southeast Alaska. He likes to start the day with a smoothie and his mind often drifts to the Chugach mountains. In the summer of 2022, Colin will return to the 49th state as an artist in residence with the Alaska State Parks Service. While living in an off-grid cabin, he’ll spend his days writing, recording, and designing an education curriculum that incorporates elements of natural sound and being outside.

Colin is an active conductor and clarinetist in New York City and the Hudson Valley. He was recently appointed as Music Director of the Freedom Plains United Presbyterian Church, frequently works with students at the Kaufman Music Center, and in November will be featured in a production of Lori Laitman's Uncovered with New York City Lyric Opera. 

Colin has strong opinions about salt and pepper, highly recommends Maggie Nelsons’ The Argonauts, and encourages everyone to drink more water. 

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Katherine Lerner Lee



Brooklyn-based soprano, Katherine Lerner Lee, is currently pursuing her Master’s of Music at Bard Conservatory. There, she was recently seen as Gold-Spurs in Janacék’s The Cunning Little Vixen and was named winner of Bard's 2021 Concerto Competition. A diverse artist, Katherine is at home in operatic, concert and contemporary repertoire. In summer of 2022, she performed in the world premiere of JL Marlor’s movement opera, The Final Veil, at the Cell Theater in New York. In 2019, she made her Carnegie Hall debut on the Perelman Stage as the soprano soloist in Stravinsky’s Les Noces with Oberlin College Choir and has been heard at the Brooklyn Art Museum and the Cleveland Art Museum, performing works by Louis Andriessen, Michael Gordon and Harrison Birtwistle. Operatic credits include Pamina (Die Zauberflöte/Mozart), Flora (The Turn of the Screw/ Britten), Susanna (Le nozze di Figaro /Mozart), and Clori in (L’egisto/ Cavalli). Upcoming appearances include Eve in Haydn's "Creation" with the Broad Street Orchestra and Leila in Gilbert and Sullivan's "Iolanthe" with The Orchestra Now. More at

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Jonathan Lawlor



     Baritone Jonathan Lawlor is interested in expanding the canon for the classical voice in the belief that the more versatile the performer, the more informed and interesting is their performance. He has experience in both the early music scene, having worked with well-known Baroque groups like Boston Baroque, Emmanuel Music, and Marsh Chapel, and experience in opera with young artist programs such as the Opera Maine Studio Artist and Music Academy of the West Studio Artist programs. His upcoming performances include Concerts in the Village’s performance of Haydn’s Creation as Adam and The Albany Symphony’s performance of part 6 of Bach’s Christmas Oratorio as a bass soloist.

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Giancarlo Latta

violin (guest artist) 


Fiercely committed to the music of our time, violinist, writer, and composer Giancarlo Latta is interested in the intersection and convergence of music old and new, a passion he explores principally as a member of the acclaimed New York-based Argus Quartet. He has performed in venues as diverse as the Rothko Chapel (Houston), Royal Albert Hall (London) for the BBC Proms, and Neubad (Lucerne, Switzerland), a converted swimming pool. Past and upcoming highlights include Lincoln Center’s Great Performers series with Argus, performances with flutist Claire Chase in Houston and violinist Patricia Kopatchinskaja in Lucerne, and works by Tyshawn Sorey and Anna Thorvaldsdottir at the Spoleto Festival USA. Giancarlo studied with Paul Kantor at Rice University and Almita Vamos at the Music Institute of Chicago. He loves books, birds, and coffee.

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Timothy Morrow



Timothy Morrow is a pianist, cellist, composer, and conductor from New Jersey. Having started music from a young age, Timothy is such a serious musician, that he refuses to watch any sporting events except for the Olympics and the Super Bowl so that he does not seem like a complete recluse. That being said, he does have a strange fascination for curling. He is a self proclaimed optimist, and recently got addicted to Hi Chew (especially the strawberry flavor). His favorite bridge is the Tappan Zee Bridge because of its strong pylons, proximity to Sergei Rachmaninoff’s grave site, and clouded view of New York City. He currently studies conducting at Bard Conservatory and is an avid advocate for the existence of Central Jersey.


Timothy Morrow is a pianist, cellist, composer, and conductor from New Jersey. Starting piano at age 4, he later went to study piano and composition at Westminster Choir College where he sang in their award-winning symphonic choir. Currently, Timothy is a graduate student in conducting at Bard Conservatory, and also sings with the Philadelphia Symphonic Choir. He is an amateur cinefile and his favorite bridge is the Tappan Zee Bridge.

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Sam Ross



Sam Ross is a conductor and violist based in New York. He has a special interest in championing new works by underrepresented composers, and those of American composers from the 20th century. As a conductor and performer he has premiered multiple works, throughout the Portland, OR area and as a member of the Impulse New Music Ensemble at the University of Oregon. From 2018-2020 he was assistant conductor of the Metropolitan Youth Symphony of Portland (MYS), and freelanced on viola in the Portland and Eugene area until moving to New York. He’s performed in masterclasses for Roberto Diaz, Ori Kam, and Brett Deubner. He is in his first year in the Graduate Conducting Program at Bard Conservatory, and graduated with a Bachelors Degree and was awarded with the Outstanding String Performer Award on viola in 2021-22 from the University of Oregon. Photo by Teryn Kuzma


Ben Halle

double bass

Ben Halle performs regularly as a classical and jazz bass player. He studies with Ryan Kamm at the Bard Conservatory Prep Program and he is a senior at Red Hook High School.

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Francisco Verastegui


Born in Irving, TX, in 2002, Francisco Verastegui is a 3rd year flutist in the Bard Conservatory where he is pursuing a double major in Hispanic Studies and Flute Performance under the tutelage of Tara Helen O’Connor. Moving with his family to NYC in 2006, Francisco began to learn the flute at school in the 5th grade at age 10. In 2013, he was accepted to the Jazz at Lincoln Center Middle School Jazz Academy and remained in the program for two years. In 2015, Francisco was accepted to the Juilliard School’s Music Advancement Program (MAP), where he studied flute for three years under the instruction of Mrs. Allison Loggins-Hull. In 2018, Francisco was accepted in the Chamber Music Center of New York where he was awarded the Chang-Chavkin scholarship, covering his tuition at the program as well as lesson costs for the next two years under the study of Lisa Arkis. During this time, Francisco had also attended summer music festivals including Luzerne Music Festival, Boston University Tanglewood Institute, Interlochen Center for the Arts, and YOLA’s National Festival. In 2020, Francisco was awarded both a Conservatory Scholarship and a Presidential Scholarship to attend the Bard College Conservatory’s Double Degree Program, where he has remained. In the Summer of 2022, Francisco was invited to be a part of the Encuentros Orchestra directed by Gustavo Dudamel for 2 weeks in California, while working with the LA Philharmonic’s piccolo player, Sarah Jackson, culminating in performances with Esparanza Spalding at the Hollywood Bowl and the Greek Theater at Berkeley. Today, Francisco is involved with music ensembles in both the conservatory and music school at Bard, as well as outside of school, exercising his love for both Jazz and Classical music.


Olivia Hamilton


New York based clarinetist, Olivia Hamilton, enjoys exploring the full sonic experience that the clarinet can produce. Hamilton often explores new music, as she has premiered multiple solo, orchestral, wind band, and chamber works. She completed her undergraduate degree at The University of North Texas where she studied with Dr. John Scott and Dr. Kimberly Cole Luevano. During her time, she cultivated a large studio where she expanded her knowledge of clarinet pedagogy. Hamilton has performed all around The United States and Europe during her time at Classical Tahoe, The Chautauqua Music Institution, and The International Lyric Academy. As a Black woman, Hamilton is very passionate about liberation and equity through music. Due to this, Hamilton assisted in the founding of the inaugural Black Composer Showcase at Northwestern University where she completed her Master of Music with an emphasis on Clarinet Performance under the tutelage of Steven Cohen and Mark Nuccio. Olivia is currently continuing her studies as a clarinetist with The Orchestra Now at Bard College.


Enikő Samu



Hungarian violinist Enikő Samu graduated from the Franz Liszt Academy of Music in June 2020 and pursued her Bachelor of Music and Master of Music degree in Violin Performance Studies and a Master of Music degree in Violin Teaching Studies under the direction of professors including Eszter Perényi, Ádám Banda and Géza Hargitai. 

As the principal violinist of the Trèpide Quartet she has been invited to the International Holland Music Session and the Kyoto Music Festival. Enikő also appeared in various chamber music ensembles such as the Accord Quartet, Roman Quartet, New Hungarian Music Ensemble and the Anima Musicae Chamber Orchestra.

She is a founding member of the Camerata Pelsonore Chamber Orchestra where she holds the second violin principal position.

In 2019 Enikő performed as a soloist with the Franz Liszt Chamber Orchestra and in 2018 Enikő won a chair in the Danubia Orchestra Obuda. As a member of the orchestra she appeared in the most prestigious concert halls and festivals of Hungary and has performed at several venues in Europe.

In 2021 she was granted the Rosztoczy Foundation Scholarship and got admitted to the Bard College Conservatory of Music, where she started her postgraduate studies in the Advanced Performance Studies Program in the class of Daniel Phillips.

She has performed in masterclasses of great artists such as Gil Shaham, Kristof Barati, Leonid Gorokhov.

Currently Enikő is a member of The Orchestra Now.

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Sao-Chu Pan



Shao-Chu Pan, as a collaborative pianist from Taiwan, has collaborated with many outstanding artists for various concert settings in native Taiwan, including collaborative piano and vocal recitals, musical, opera, chamber music and choir. In 2020, Shao-Chu was invited by Association of Vocal Artists of R.O.C. and performed with brilliant singers at National Recital Hall in Taiwan, as well as invited by Taipei Chamber Singers and performed at National Concert Hall in Taiwan. He also held a collaborative piano recital in the Winter of 2022 and collaborated with Taiwanese renowned lyric mezzo-soprano Hai-Yun Cheng and distinguished violinist Flora Hua, the violinist of Taipei Symphony Orchestra. Shao-Chu has performed in masterclasses for several outstanding artists including Albert Lotto, Nicholas Carthy, Wei-En Hsu, I-An Amber Chen, Chia-Chi Hsu.


Shao-Chu received a Bachelor’s degree in Solo Piano Performance from Department of Music in 2019, as well as a Master of Fine Arts degree in Collaborative Piano in 2022 from Graduate Institute of Performing Arts, National Taiwan Normal University (NTNU), where he studied under Professor Yen-I Lee, director of Graduate Institute. During his life as a graduate student, Shao-Chu was admitted to GIPA in the first place in 2019 and won the scholarship of Master’s Programs with Outstanding Academic Performance. 


Shao-Chu is currently studying in Advanced Performance Studies program at Bard Conservatory of Music, where he studies collaborative piano under Frank Corliss.

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David Bánóczi-Ruof



Violinist and conductor Dávid Bánóczi-Ruof (DAH-vid BAH-NO-tsee RUE-off) is a graduate of Bard College and the Mannes School of Music Pre-College Program. They studied violin with Erica Kiesewetter and Marka Gustavsson at Bard, Khullip Jeung in New York City, and Jörg Heyer in Frankfurt, Germany. They studied conducting with James Bagwell at Bard and Scott Jackson Wiley in NYC. As a violinist, Dávid has performed extensively in the United States and Europe, including most recently touring the Hudson Valley with Jazz and Classics for Change as part of their Young Artists Series, and as a soloist with the Bard Chamber Orchestra, the Bard College Community Orchestra, and The Orchestra Now.

Passionate about performing works by historically ignored composers, Dávid won the 2022 Bard Concerto Competition playing Samuel Coleridge-Taylor’s rarely heard Violin Concerto. As a conductor, Dávid co-founded the Bard College Community Orchestra’s annual Midsummer’s Eve concert with Erica Kiesewetter, and made a conducting debut with music by Mendelssohn. A believer in the collaborative powers of new music, Dávid has commissioned and premiered works by Sasha Paris-Carter, Mikalah Jenifer, Oga, and others. They are excited to join the Bard Sinfonietta Project to premiere But Even So by Kyle Gann. Dávid's favorite color is a blue that doesn’t exist. You can follow them on Instagram at @prinzessin_davidella.


Milla Meiman



Milla Meiman is a second-year Theatre & Performance major at Bard College. Originally from Memphis, TN, she has been performing since 2013 and has focused mainly on Shakespeare since 2017. Her Shakesperian credits include Beatrice (Much Ado About Nothing), Gertrude (Hamlet), Macbeth (Macbeth), Katherina (The Taming of the Shrew), and Titania (A Midsummer Night’s Dream). She was most recently seen as Miranda in The Tempest, and she will be performing this winter in the ensemble of Heathers.

She would like to thank Colin Roshak and Adhaar Desai for giving her the opportunity to perform with such a talented ensemble, and would also like to thank her partner, Miles, for their endless support.

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