Current and past projects include The No One’s Rose, a devised music-theater-dance piece featuring new music by Matthew Aucoin, directed by Zack Winokur with choreography by Bobbi Jene Smith; EASTMAN, a multi-dimensional performance piece contending with the life and work of Julius Eastman; Winokur’s production of Hans Werner Henze’s El Cimarrón, which has been performed at the Metropolitan Museum of Art and the American Repertory Theater; a new arrangement of John Adams’s El Niño, premiered at The Met Cloisters as part of Julia Bullock’s season-long residency at the Met Museum; Davóne Tines’s and Winokur’s Were You There, a meditation on black lives lost in recent years to police violence; and Bobbi Jene Smith and Keir GoGwilt’s dance/music works With Care and A Study on Effort, which have been produced at San Francisco’s ODC Theater, Toronto’s Luminato Festival, and elsewhere. Conor Hanick’s performance of CAGE, Zack Winokur’s production of John Cage’s music for prepared piano, was cited as the best recital of the year by The New York Times in 2018 and The Boston Globe in 2019. Additionally, AMOC will serve as the Ojai Music Festival’s 2022 Music Director, only the second ensemble, and first explicitly interdisciplinary company, to hold the position in the Festival’s 75-year history.
BRAVO 2022 Wrap-Up
The Ojai Music Festival BRAVO program, directed by BRAVO coordinator Laura Walter, provides music education opportunities to students and residents of the Ojai Valley for more than three decades. 2022 marked a safe return to many workshops and activities after close to two years of no in-person programs. As summer wraps up and we head into a new school year, join us in taking a look back at the BRAVO program’s accomplishments.
Third graders’ returned to visiting retirement homes.
It was a time of authenticity, as the children experienced the joy, wisdom and humor that was possible while playing and singing with our elders. The staff said they hadn’t seen that many smiles in many months. The next week in class the students and teachers talked about how important that time was for them. The children learned that seniors are really nice, and fun!
Ojai O’Daiko performed Taiko Drumming music at this year’s Imagine concert.
840 children and 70 adults attended the performance at the Libbey Bowl thanks to an on-going partnership with the Ojai Valley School and funding from the Barbara Barnard Smith Worlds Music Foundation. Students were amazed that they could feel the music vibrate in their bodies!
The Instrument Petting Zoo was added to the Memorial Day weekend Art in the Park.
The program reached 700 more community members by giving them opportunities to try instruments and meet our BRAVO committee members.
New this past year – bringing musicians into 4th and 5th grade classes and having a few continuing sessions with Ms. Laura to expand upon all that we learned during our previous years together.
Teachers said they had never seen the children so attentive. Plans are in motion to expand the program for next year. Stay tuned!
Education Through Music schools:
BRAVO was in residence at Summit, San Antonio, Topa Topa, Meiner’s Oaks, Miramonte, Summit/Rock-Tree-Sky
28 classes; 660 children
Pilot Program: 4th/5th grades at Topa Topa Elementary:
7 sessions, 55 children per session
385 direct experiences
4 components: harp, violin, cello, Education Through Music
Artists in Residence:
Shelley Burgon, harp
Kathleen Robertson, violin
Cameron Schubert, cello
Julie Tumamait, Chumash storyteller/musician
Laura Walter, flute
Joann Yabrof, ETM
Thanks to the efforts of our Music Van volunteers, coordinated by Lynne Doherty, Music Van visited 7 schools, 5th graders (455 children)
Bravo Music Camp, June: 5 days, 30 children aged 6-13
Bravo Music Camp, August: 5 days, 30 children aged 5-13
Ojai Day Oct. 16, 10am-4pm, 400 people served
Art in the Park, May 25-26, 10am-5pm, 700 people served
Music for Holiday Home Marketplace:
Kathryn Carlson, cello
Babette and Bob, acoustic duo
Debby Finley and Friends
Ruby Skye, acoustic duo
Fire on the Mountain, bluegrass trio
Ray Sullivan, guitar
Ojai Valley Museum First Fridays:
Dec. Laura Walter, flute; June-Laura Walter and Kylie Cloutier, flutes; August-Ray Sullivan, guitar
Storytelling Festival, Oct. 31, Ruby Skye
Ojai O’Daiko, Taiko Drumming
March 25, Libbey Park, 840 children, 70 adults
Sends volunteers into assisted living facilities (traditionally the Continuing Care Center) and helps the residents play hand percussion.
The Artesian (October, June- cello)
All 3rd graders in the district go into assisted living facilities and play and sing with residents.
The Bridge at The Gables of Ojai—75 students, 40 seniors
The Bridge at The Artesian—75 students, 30 seniors
2022 Festival Photos
Photos by Timothy Teague
Photos by Joshus S. Rose
Festival Patron Photos by Timothy Teague
2022 Festival Critical Acclaim
Thank you for joining us at our 76th Festival, June 9-12, 2022. It was an exhilarating time! The energy and boundless creativity of AMOC* was vividly present across the Ojai Valley, giving all of us an extraordinary artistic adventure. Read review excerpts below.
“The Ojai Music Festival has always been more than the sum of its considerable parts, thanks to its compact duration (little more than a long weekend), eclectic classical programming, embrace of other disciplines (including theater, dance and spoken word), and sustained ability to attract luminaries to its still delightfully rustic outdoor setting—Igor Stravinsky, Aaron Copland and Pierre Boulez remain the most famous of its annually appointed music directors. Yet this year, something else pervaded, too: a feeling that the center of the classical-music universe, at least from June 9 through 12, was right here.” – Wall Street Journal
“Davóne Tines, in a program note describing amoc’s approach to Eastman’s unswervingly radical music, wrote, “What is possible if all members of a performing ensemble are present for every step of the creation of a performance?” Ojai made the possibilities clear.” – The New Yorker
“There is nothing in music quite like Ojai, now three-quarters of a century old, with that packed morning-to-night-schedule, its variety of spaces and the stalwart curiosity of its audience. Led by Ara Guzelimian with a steady hand, the festival is Southern California relaxed — T-shirts and shorts, maybe a hoodie at night — but the repertory tends rigorous and recondite.” – New York Times
“This Utopian collective of 17 extraordinary artists happily reinventing opera was the communal music director last weekend for the 75th anniversary of this ever-quixotic festival.” – Los Angeles Times
“Eastman’s beloved half-hour Gay Guerilla was a standout moment during the program — and the festival. The dizzily ecstatic work came off as a musical statement at once unruly and internally logical, raucous and yet reflective, as was Eastman’s complex musical wont. Among other distinguishing marks at Ojai 2022, Eastman now joins the ranks of the festival’s ever-expanding songbook of 20th- and 21st-century greats whose music left a mark in this dreamy outpost of a town.” – San Francisco Classical Voice
“Open Rehearsal, directed by the choreographer and dancer Bobbi Jene Smith, felt more nuanced. An outgrowth of Smith’s recent work “Broken Theater,” it is a wry, sometimes uproarious and poignant metatheatrical riff on the process of creation.” – New York Times
“For all its worldly trappings, as an annual gathering point for internationally-respected musicians, composers, conductors, plus visitors and press from near and far, the unique power of the Ojai Music Festival (ojaifestival.org) is partly rooted in its “village” concept. As the cliché goes, it “takes one” to pull all the festival pieces together and it is one, a golden west coast destination spot.” – Santa Barbara Independent
“With AMOC’s boundary-pushing tenure at an end, Ojai has once more proved the most elastic of music festivals. And it seems clear that Mr. Guzelimian intends to continue stretching things.” – Wall Street Journal
“Compositional styles ran a wide gamut at the festival, from the ethereal simplicity of Cassandra Miller’s “About Bach” to the riotous, pop-flavored eclecticism of Doug Balliett’s mini-opera Rome Is Falling.” – The New Yorker
“Everything for AMOC is sacred in that it needs to perform at the highest level, but nothing is so sacred that it can’t be rethought musically, socially, racially, sexually, theatrically, physically.” – Los Angeles Times
“Many in the arts these days talk a big game about interdisciplinary collaboration, but few walk the walk like AMOC” – New York Times
Podcast Series: OJAICast 2022
Welcome to OJAICast, where we pull back the curtain to take a sneak-peek at the upcoming Ojai Music Festival, June 9 to 12, in beautiful Ojai Valley, California. All are welcome here, from newcomers to long-time music fans. In-depth insights and special guests will help introduce this year’s programming and whet your musical appetites for what’s to come with host Emily Praetorius.
Our first episode introduces us to our 2022 Music Director AMOC, the multidisciplinary collective which incorporates music, dance, poetry, theatre in all their work and their ambitious programming that begins on Thu June 9. Guests: Ara Guzelimian, Zack Winokur, and Keir Gogwilt
Emily Praetorius, producer and host
Louis Ng, sound engineer (lensonproductions.com)
OJAICast theme by Thomas Kotcheff and Louis Weeks
Music Excerpts in Episode 1:
Craigie Hill, by Keir GoGwilt and Celeste Oram
Performed by Keir GoGwilt
Prelude to the Holy Presence of Joan d’Arc, by Julius Eastman
Performed by Julius Eastman
Rebonds B, by Iannis Xenakis
Performed by Steven Schick
Gretchen am spinnrade, by Eric Wubbels
Performed by Eric Wubbels and Mariel Roberts
From early morning sunrise to evening sunset, AMOC dives into the music of icons George Lewis and Roscoe Mitchell, the life and music of Julius Eastman alongside world premieres of works by Anthony Cheung and new staging of Messian’s Harawi. Guests: AMOC member and flutist Emi Ferguson and composer Anthony Cheung.
Emily Praetorius, producer and host
Louis Ng, sound engineer (lensonproductions.com)
OJAICast theme by Thomas Kotcheff and Louis Weeks
Music Excerpts in Episode 2:
Gay Guerilla, by Julius Eastman
Performed by Julius Eastman
Stay on It, by Julius Eastman
Performed by Julius Eastman, Doug Gaston, Amrom Chodos, Dennis Kahle, Benjamin Hudson, Joseph Ford, George Mitkoff, Jan Williams, Peter Kotik
Harawi, mvts. 2, 6, 10, by Olivier Messiaen
Performed by Hetna Regitze Bruun and Kristoffer Hyldig
Let Festival weekend begin! In this episode we look at the Saturday program which is quintessential Ojai Music Festival — music of Bach and Bach re-imagined and three premieres of some of today’s most exciting composers Matthew Aucoin, Carolyn Chen, and Andrew McIntosh. Guests: AMOC co-founder/composer Matthew Aucoin and AMOC member and violinist Miranda Cuckson.
Emily Praetorius, producer and host
Louis Ng, sound engineer (lensonproductions.com)
OJAICast theme by Thomas Kotcheff and Louis Weeks
Music Excerpts in Episode 3:
cross/collapse, by Catherine Lamb
About Bach, by Cassandra Miller
Performed by Quatuor Bozzini
Tanz Tanz, by Reiko Füting
Performed by Olivia de Prato
Prelude in G Minor, by Bach
Performed by Emi Ferguson and Ruckus
Little Jimmy, by Andrew McIntosh
Performed by Yarn/Wire
More music, meditation, and dance plus community events end the four-day Festival starting with Meditation with the music of Julius Eastman, followed by Hans Otte’s The Book of Sounds, and two world premieres Dance in the Park and Rome is Falling. To end this jam-packed Fesrival, the Sunday Finale will display the virtuosity of all 17 AMOC members as a collective. Guests: Ara Guzelimian, Julia Eichten, and Doug Balliett.
Emily Praetorius, producer and host
Louis Ng, sound engineer (lensonproductions.com)
OJAICast theme by Thomas Kotcheff and Louis Weeks
Music Excerpts in Episode 4:
The Book of Sounds, mvts. 1, 10, by Hans Otte
Performed by Ralph van Raat
ABOUT OUR OJAICAST HOST
Emily Praetorius, former Ojai Music Festival intern and Rothenberg Intern Fellow, is a current Composition DMA candidate at Columbia University. She previously studied composition and clarinet performance at the University of Redlands (BM) and composition at Manhattan School of Music (MM). She has studied with Kathryn Nevin (clarinet), Susan Botti, Georg Friedrich Haas, George Lewis, and Anthony Suter. Emily is from Ojai, CA and lives in New York City where she is a proud co-owner of Kuro Kirin Espresso & Coffee.
Where to get a cup of coffee (and more) in Ojai
By Lisa McKinnon
First-time visitors to downtown Ojai may be surprised when they go looking for a Starbucks: There isn’t one, thanks to a moratorium on chain businesses with five or more locations. Luckily, Ojai Music Festival audiences in need of a caffeinated pick-me-up between song cycles and dance-theater pieces have plenty of non-corporate options from which to choose.
Beans sourced from small farms in Kenya, Costa Rica and Guatemala are roasted at the café’s sister location in Ventura, then featured in pour overs, flat whites, cappuccinos and seasonal mochas (the festival coincides with Beacon’s annual switch from Ojai Pixie to lavender, the latter from Frog Creek Farm in the Upper Ojai). Magic Hour teas blended in Ojai are available hot or cold. The café’s kitchen is home to SunOven gluten-free vegan bakery, which produces lavender-lemon doughnuts among other treats. Additional baked goods are from Frontside Cafe in Ventura.
The menu of organic, plant-based food and drinks infused with ingredients from Ojai-based Boku Superfoods includes coffees and espressos made from locally roasted beans from Bonito Coffee Roaster. Enjoy an invigorating Golden Shroom Latte while juicing up your electric car at the café’s bank of chargers.
Look for the orange patio umbrellas to locate this off-the-beaten path local favorite specializing in organic, fair-trade coffee, espresso and loose-leaf teas. Drinks are available hot or cold. You’ll also find Mexican hot chocolate and baked goods.
The combination organic bakery, market and Mexican café with vegan, vegetarian and gluten-free options also operates as a community gathering place and espresso bar with drip coffee and specialty drinks. “Beneficial” beverages like the Turmeric Toddy and adaptogenic hot chocolate (made with fungi) are available from 9 a.m. to 2 p.m.
Nearing its 28th anniversary, the coffeehouse offers an ever-changing lineup of roasts, plus specialty drinks that can be made hot or cold. There’s also a wide selection of whole beans, loose-leaf teas and mugs, carafes and tea pots to take home as gifts.
Dune Coffee from Santa Barbara is featured, both freshly brewed and on nitro (cold). The café also serves lattes, cappuccinos and the eye-opening Gibraltar/Cortado – a double espresso topped with an equal amount of micro foam. Fresh-squeezed orange juice and matcha lemonade are also available.
Ojai Coffee Roasting Co., 337 E. Ojai Ave., 805-646-4478, facebook.com/OjaiCoffee. 6 a.m. to 2 p.m. Mondays through Fridays, 6 a.m. to 4 p.m. Saturdays and Sundays.
Owner and roaster Stacey Jones is often behind the counter at the café she opened in 1995 (and which served as a filming location for the 2010 movie “Easy A” starring Emma Stone). Arabica beans are roasted on site in small batches for coffees, espressos, red eyes (espresso plus drip coffee) and more. Check the specials board for lattes ranging from lavender to honey cinnamon.
In a nod to the coffee-served-all-day tradition set by the pre-moratorium Jersey Mike’s that previously occupied its address, Pinyon serves French-press hot and cold-brew versions of Los Angeles-based Canyon Coffee from opening till close.
Keeping track of your caffeine intake? A “none-to-high” scale for teas is spelled out on glass display case at this counter-service restaurant that also serves drip coffee, collagen lattes and herbal tonics.
Named for a vintage bread oven, the Rustic Canyon Family restaurant operates as a coffeehouse from 7 a.m. to 4 p.m.-ish, when the focus is on order-at-the-counter service of Bonito Coffee drinks and Magic Hour teas (including a heavy-caffeine black variety dubbed Organic Flower Dutchess) to go with grab-and-go sandwiches, cookies, seasonal-ingredient cakes and artisanal breads by pastry chef/partner Kelsey Brito and bread baker/partner Kate Pepper. The Dutchess switches to sit-down dinner mode at 4:30 p.m., when its California-Burmese menu becomes available.
Fans of Peet’s Coffee will find the brand served at the service deli.
Lisa McKinnon is Ventura-based food writer who drank a LOT of coffee and still managed to fall asleep during a special, four-hour performance at the 2002 Ojai Music Festival — but only because audience members were invited to bring pillows and blankets and told get comfortable on the Ojai Art Center floor for the duration. She’s on Twitter, Instagram, Facebook and TikTok as 805foodie, and blogs at 805foodie.com.
Grab & Go: A Guide to Getting Something Between Concerts
With nearly 20 concerts, talks and open rehearsals planned over four days, the 76th Ojai Music Festival from June 9-12 doesn’t leave much time for leisurely dining. That’s where this partial list of Ojai places with order-at-the-counter and/or grab-and-go food service comes in handy: It’s organized according to proximity to Libbey Park, so you can find a spot within walking distance between events, or make plans to park just long enough to pick something up while making your way to the next performance. (Starting Thursday, June 9 you can also visit the Ojai Music Festival Green Room in Libbey Park for sales of pre-made sandwiches and small bites by Ojai Valley Deli Café, Ojai Rôtie and The Vine Ojai plus beer, cider, and wine from Ojai Beverage Co.)
Vegan, vegetarian and gluten-free options are available from a menu that includes soups, salads, quiches and sandwiches, plus gelato and bottles of wine to go. Call ahead to order box lunches that include a sandwich, side salad and cookie.
Don’t let the “cash only” sign put you off: There’s room for an ATM inside this hole in the wall where house-made corn and flour tortillas are turned into tacos, burritos and quesadillas filled with your choice of veggies, steak, chicken or al pastor.
Wagyu beef is the specialty of the house, but the café’s riffs on burgers include shrimp katsu, vegetable croquette and – swapping bread for “buns” of rice – vegetable or shrimp tempura. Loaded fries, smoothies, shakes and bubble teas are also served.
Love Social Café, 205 N. Signal St. (about two blocks from Libbey Park), 805-646-1540, lovesocialcafe.com. Daily from 8 a.m. to 2 p.m. Easy-to-transport dishes range from avocado toast and bagels and lox to tuna, veggie and BLT sandwiches on your choice of croissant, gluten-free bread or Ojai Rôtie sourdough.
Rainbow Bridge Market Deli, 211 E. Matilija St. (inside Rainbow Bridge Market, about two blocks from Libbey Park), 805-646-6623, rainbowbridgeojai.com. Daily from 8 a.m. to 9 p.m. Breakfast burritos and specialty juices — like the aptly named Rainbow Wallbanger — are local favorites. Salads include a mix-and-match option and pre-packaged greens with tofu, chicken or salmon. Sandwiches both hot (Brocc on the Wild Side) and cold (Rainbow tuna salad) are available until 5 p.m. and include gluten-free and vegan selections.
Westridge Midtown Market, 131 W. Ojai Ave. (about two blocks from Libbey Park), 805-646-4082, westridgemarket.com. Daily from 7 a.m. to 9 p.m. The service deli has a priced-by-the-pound breakfast bar (open from 7 to 10:30 a.m.), salad bar and hot bar in addition to packaged sushi, grab-and-go burritos and sandwiches, brick-oven pizzas and “famous” Westridge Burgers made with ground beef or turkey. The original Westridge Market (802 E. Ojai Ave., about half a mile from Libbey Park, 805-646-2762) also offers made-to-order burgers, plus a create-your-own taco and burrito bar and, on the weekends, barbecue off the grill in the parking lot.
Hip Vegan, 201 N. Montgomery St. (about three blocks from Libbey Park), 805-669-6363, hipvgn.com. Daily from 11 a.m. to 7 p.m. Tucked behind a hedge at Montgomery and Matilija streets, Hip Vgn (as the restaurant is styled online) is dedicated to organic, vegan fare that often is also gluten free. Spring rolls are filled with tofu and fresh herbs, while the Tiger Bowl features grilled tempeh with turmeric rice. Smoothies are made with almond, hemp and cashew milks.
Pinyon Ojai, 423 E. Ojai Ave., Suite 101 (about three blocks from Libbey Park), no phone, pinyonojai.com. 9 a.m. to 9 p.m. Thursdays through Sundays. After its debut last winter, the wood-fired pizzeria, bakery and natural wines shop now also offers breakfast. House-made sourdough pastries and bagels are available from 9 a.m. (the latter are sold on their own, as breakfast sandwiches, or with shmear and Mt. Lassen trout lox). Hoagies and sourdough-crust pizza squares join in until around 4 p.m., with small plates, salads, desserts and pizzas available from noon to 9 p.m.
La Fuente Mexican Food, 423 E. Ojai Ave. Suite 108 (about three blocks from Libbey Park), 805-646-7715, lafuenteojai.com. 7 a.m. to 6 p.m. Mondays through Thursdays, 7 a.m. to 9 p.m. Fridays, 7 a.m. to 9:30 p.m. Saturdays and 7 a.m. to 2:30 p.m. Sundays. This homey spot located in the far corner of Fitzgerald Plaza serves tacos, tamales, sopes, burritos, and quesadillas (plus burgers and fries) in near-record time. Be sure to hit the serve-yourself salsa bar before departing.
Ojai Valley Deli Café, 1205 Maricopa Highway, Unit A (about 1.3 miles from Libbey Park), 805-272-8139, ojaivalleydelicafe.com. 8 a.m. to 7 p.m. Mondays through Fridays, 8 a.m. to 3 p.m. Saturdays. Since its December 2021 debut next to the Ben Franklin Store, the deli has become a locals’ favorite for its to-go-only service of salads, eggplant Parmesan, hot-off-the-grill panini and house-made desserts, including tiramisu and vegan carrot cake. Italian coffee is a specialty.
Creative Collisions with AMOC
Audiences expect to get a glimpse of the musical future at Ojai. Not as a sci-fi fantasy of escape but through encounters with visionary artists who are actively transforming the real-world landscape: precisely the kinds of artists attracted to AMOC, a collective of 17 musical thinkers and performers. As the Festival’s Music Director for 2022, AMOC (the acronym for American Modern Opera Company) practices a model of curation grounded in interdisciplinary collaboration.
AMOC gathers like-minded singers, dancers, instrumentalists, and composers who are each at the cutting-edge of their respective fields. It’s the rock super-group of contemporary classical music. “What has been essential for us as a company is that every project is in some way interdisciplinary,” explains composer, pianist, conductor, and writer Matthew Aucoin, who co-founded AMOC with choreographer/director and dancer Zack Winokur in 2017. “We’re excited to bring the theatricality that is inherent in every AMOC project to Ojai.” ‘Collision’ is a favorite image to illustrate how their multifaceted, discipline-crossing approach works. “There’s always a collision, whether that’s between music and dance or music and text and dance,” Aucoin adds. Or, as the Festival’s Artistic and Executive Director Ara Guzelimian puts it: “When you have all of these incredibly vibrant artistic atoms colliding with each other, what results is often the very surprising and very unexpected.”
“As a collective, there are many tentacles to AMOC. Its artists have many diverse gifts, and the whole company has been involved in the programming,” says Aucoin. For example, Family Dinner, his own cycle of mini-concertos, will each feature a different member of the company and include spoken “toasts.” This is among the exciting world premieres that will grace the 2022 Festival to be held June 9 to 12. AMOC choreographer Bobbi Jene Smith will create a new, collaborative dance piece adapting and extending parts of her recent film Broken Theater and showcasing the AMOC family. Smith will choreograph music by Schubert, Bach, Connie Converse, and Pete Seeger, developing a scenario in which the rehearsal process is deconstructed.
Indeed, dance will play an especially prominent role in this edition of Ojai Festival. Smith is joined by Or Schraiber, Yiannis Logothetis, and Coleman Itzkoff in creating Waiting, a new dance-music piece about the bonds of friendship and its attendant moral quandaries that is tinged with 1960s-style French theater of the absurd.
A significant number of AMOC’s members have developed careers in opera — an interdisciplinary pursuit by definition — including soprano Julia Bullock, bass-baritone Davóne Tines, tenor Paul Appleby, and countertenor Anthony Roth Costanzo. It’s characteristic of the company that they strive to expand our expectations of what opera can encompass. Aucoin, a 2018 MacArthur Fellow, took on opera’s foundational myth with Eurydice, his setting of a play by Sarah Ruhl that reconsiders the myth of Orpheus and his descent into the Underworld from his wife’s point of view. Eurydice was premiered in 2020 by Los Angeles Opera, where Aucoin is artist-in-residence, and the Metropolitan Opera presented a new production earlier this season that was broadcast internationally in HD.
Among the highlights of Ojai 2022 will be the world premiere staging by Zack Winokur, with choreography by Bobbi Jene Smith and Or Schraiber, of Olivier Messiaen’s 1945 song cycle Harawi. The Andean musical tradition illuminates the legend of Tristan and Isolde in this hour-long song cycle for soprano and piano. Julia Bullock has long envisioned a performance that explores the cycle’s dichotomies of “spirituality and sensuality, love and death, men and women.” Drawing together five AMOC members (pianist Conor Hanick, along with the aforementioned artists), this version will layer theatrical and choreographic interpretations with multicultural reflection and musical performance. “With every composer who wants to celebrate other cultures that they’ve experienced or been deeply inspired by, there’s always this danger of appropriation that I wanted to be conscious of,” says Bullock. She has therefore invited the voices of artists of indigenous Andean traditions to share their musical or dance traditions as a counterpart.
Another song cycle on the program highlights the extraordinary music of composer, pianist, and scholar Anthony Cheung: echoing of tenses, commissioned by AMOC, sets the words of Asian-American poets who reflect on issues of family, identity, migration, and loss. Paul Appleby will be joined by Conor Hanick and violinist Miranda Cuckson to perform Cheung’s blend of live performance and pre-recorded sound design.
Interpretation-as-collaboration: this is AMOC’s signature, Winokur observes. “Part of the reason we started the company is that the members are not being asked to interpret something already there but form these ideas collaboratively — and often leading out of their own passions, experiences and desires. We’re good at shape-shifting to support different members in the company’s projects and ideas. Ojai is a perfect place to do this because of its rich history of birthing so many important projects that still live in the world.”
“They are ahead of their time,” says Guzelimian. “The fact that they make the creation and the performance of work integral is also a critical statement about how a new generation of artists works.” Many of AMOC’s members have friendships and working relationships that go back to their student days at Juilliard — bonds that have intensified their collaborative process. Their extraordinary range of interests widens their expressive palette as well. New music meets early music in several of their programs, and the period instrument group/continuo band Ruckus regularly includes musicians who overlap with AMOC, such as composer and bassoonist Doug Balliett and composer and flutist Emi Ferguson. Ruckus will join in some events to expand AMOC’s ensemble. And since several of the AMOCers are avid hikers and lovers of the outdoors, audiences can expect to encounter music in unusual natural settings.
These collaborations allow AMOC to present performances in novel contexts, such as a program devoted to the works of Julius Eastman, for which special guest collaborator Seth Parker Woods shares his inspiring engagement with Eastman’s legacy. Another discovery awaits in a rare solo performance by pianist Conor Hanick of Hans Otte’s The Book of Sounds. A polymath artist who combined music, poetry, drawings, and art videos, Otte wrote in a Minimalist style that incorporates impulses from Eastern mysticism. The result, says Guzelimian, is “revelatory.”
Even a composer as familiar as J.S. Bach will emerge in a new light in a Libbey Bowl event offering contemporary reflections on his instrumental music, including pieces by Cassandra Miller and Reiko Fueting.
Some of the AMOC musicians are already familiar to Ojai audiences. Davóne Tines made his Festival debut in 2016 with Music Director Peter Sellars. Emi Ferguson was featured in the recent 2021 edition. So did the venturesome violinist and violist Miranda Cuckson. “I loved the experience of playing for the Ojai audience,” she recalls. “Their receptiveness to all kinds of experiences was very palpable.” Julia Bullock made her first-ever appearance at a music festival when Dawn Upshaw invited her to appear at Ojai. For the soprano, “Ojai is a place of comfort, of real communion making, of openness and generosity — a place where community seems to be built.”
Similarly, the Ojai experience of intensive, contemplative music-making seems to be in AMOC’s DNA. “We try to create a festival atmosphere every summer at our residency/creative retreat in Vermont,” Aucoin says. That is the context for which he began creating the concertos in Family Dinner, as showcases to bring the company together after months of being separated during the regular year. “We want to bring that family spirit to Ojai,” Aucoin says. Winokur adds: “When we started the company, we had the thought that festivals were the best way to experience AMOC and for us to experience each other. We hope that will be the experience for the Ojai audience as well. Performing post-COVID, this is a time where we have to get back to the basics of why we do this.”
AMOC’s Music Playlist
The 2022 Festival Music Director AMOC, a collective of today’s most adventurous musicians, singers, composers, choreographers, and dancers, is as eclectic and open minded with their musical interests as one would expect. To begin the new year and expand our own musical horizons, we asked each member of AMOC to share their personal listening of the moment — a selection which is characteristically wide-ranging and very individualistic.
Listen on Spotify and Apple Music
(Preview the AMOC playlist and log on to your account to listen to the full songs)
Jazz Crimes by Joshua Redman
This is a track that I just keep coming back to. The groove is subtle but persistent. Joshua Redman is such an incredible artist and Brian Blade’s drumming has always been an inspiration to me.
My “what I’m listening to” pick is Kate Soper’s set of three songs for soprano and string quartets, Nadja. I am a huge fan of Kate’s music because she has a language and voice that is entirely her own. Her intellectual and literary interested are deeply personalized in her compositions and performances and her somewhat esoteric tests become vivid and immediate in her music. This score is a great example of Kate’s incredible level of technical accomplishment as well as her imaginative and unique approach to her art.
Stranger Love, Act 3 (excerpt), by Dylan Mattingly, performed by Contemporaneous
Dylan Mattingly writes music of limitless jubilance and joy. This excerpt from his opera Stranger Love is a kind of dance party for the angels, built upon an unlikely echo from a Springsteen-esque “promised land.”
I cannot stop listening to Ok ok pt 2 from Kanye’s latest album “Donda”. It’s got a heavy dark groove and guest Shenseea’s verse is jaw-dropping.
Up From The Skies by Jimi Hendrix, from the album Bold As Love (1967)
It’s like some prophetic, post-apocalyptic love song… (honestly hope to find a way to sing it one day)
I’m currently listening my way through Wadada Leo Smith’s Ten Freedom Summers, a gigantic sprawling 4.5 hour collection of 19 pieces written over the course of 30+ years, each one titled after various moments, ideas, people, or places related to the Civil Rights Movement. It’s music that is very much alive in a literal sense. As in, it really feels like it is deeply meditating on the lived experience of human life itself. It’s extremely moving, exciting, surprising, and sometimes baffling. But when I listen to this highly abstract music, my ears somehow feel closer to hearing a full spectrum of complex human experience in all of its contradictions of tragedy, playfulness, rage, and joy. And maybe things that I haven’t even felt yet. And — when you consider the context of the composer himself, a Black man born and raised in segregated Mississippi — things that many of us are privileged to never have to personally feel or experience.
Anthony Roth Costanzo:
Lately I’ve become obsessed with Betty Carter and how wildly inventive and abstract she is, both in how she deploys the extremes of her voice, and how she charts the trajectory of a song. From her piercing head tones, to her forthright parlato, to her childlike upper chest register, to her impossibly rich baritone notes, I find her a total revelation. You can hear those colors set forth in this track:
Wadada Leo Smith America’s National Parks
I adore this work (which I first heard a few years ago) for many reasons, including its bracing beauty, its grouping of very satisfyingly distinct utterances and instrumental presences, its continually thrilling sensations of space and texture, and the composer’s deep vision of the psychological tension in our shared natural landscapes.
While it was an extreme challenge to choose only one song from Xenia Rubinos’ latest album, Una Rosa, Cógelo Suave has been one of many that I have on repeat. This swirl of a song will make any day brighter, break you open and have you singing!
The last thing played on my music app was the first disc of Beach House’s upcoming album, Once Twice Melody, which is lush, sweeping, synthy, and grandiose.
I’ve also been enjoying Jonny Greenwood’s soundtrack to the film The Power of the Dog, especially the Messiaen-esque finale Psalm 22.
Lastly, folks are rightly excited about the recent Floating Points / Pharoah Sanders collaboration, but I’ve found myself revisiting Floating Points’ 2015 album of experimental synth-jazz, Elaenia, with a particular habit of rewinding “Silhouettes (I, II, III)”
Pick: Matthew Aucoin’s Eurydice
I’ll admit to a certain degree of bias for my playlist pick, Matt being a close friend and current roommate here in New York City, but I truly felt compelled to list this new opera of his, which recently held it’s Met premiere to much acclaim. I was able to attend two live performances, as well as listen to the BBC broadcast on a recent long car trip and found so much of the music staying with me, swirling around in the back of my consciousness like the really great music tends to do. The score is dazzling, deeply moving, complex, tectonic (superlatives abound!), and the performance by Erin Morley, Joshua Hopkins, Barry Banks, and more, all backed by Yannick Nézet-Séguin and the Met Orchestra, is totally and utterly ravishing. For those already dedicated fans of Matt’s work, Eurydice is the latest and greatest contribution to his oeuvre (not to mention the latest in a 400-year Orphic opera tradition). And for those less familiar with the music of Matthew Aucoin, I can think of no better place to start!
Formidable by Stromae always makes me dance.
Bobbi Jene Smith:
La Solitude always makes me feel the dance inside of me. It has been a song that has been a starting point for many dances I have made. Thank you, Barbara, for haunting and dancing with me. I hope this song will make you feel the dance in you too.
six thirty by Ariana Grande
Towards the end of the year I’m feeling cozy and romantic. This song from one of my favorite artists, on her latest album, continues to evolve her special combination of crisp vocals wrapped in string-infused r&b redux.
We Do Not Belong Together performed by Bernadette Peters and Mandy Patinkin. I’ve been listening pretty nonstop to Stephen Sondheim since his death. It’s hard to choose just one, but this song is the devastating apotheosis of a genuinely real relationship at the core of Sunday in the Park with George, a show I was going to direct last spring until covid struck it down.
2022 Virtual Ojai Talks
Welcome back to the Festival’s continuing series of Virtual Ojai Talks, where we celebrate the intersection of music, ideas, and the creative process with 2022 Festival artists, composers, innovators, and thinkers.
MAY 25, 5:30PM PT: AMOC* DANCES: COLLABORATIVE DANCE/MUSIC WORKS featuring Bobbi Jene Smith, Julia Eichten, Keir GoGwilt, Coleman Itzkoff, and Or Schraiber with guest host WYNC/New Sounds John Schaefer.
A new song cycle, the echoing of tenses, commissioned by the Ojai Festival (with a gift in honor of Nancy Sanders) from Anthony Cheung, sets poetry by Asian-American writers interconnected by the larger theme of memory, made complicated by the circumstances of cultural and personal identity. Join us for this illuminating conversation with composer Anthony Cheung and two members of AMOC* – violinist Miranda Cuckson and composer/co-founder Matthew Aucoin.
WED April 6, 2022 | 5:30-6:30pm
Julia Bullock, Conor Hanick, and Zack Winokur, AMOC members
The Festival will present the world premiere of AMOC’s staging of Messiaen’s song cycle Harawi for soprano and piano. In addition to Julia Bullock and Conor Hanick’s performance, this production breaks open Messiaen’s musical explorations of love and death into a newly theatrical dimension through the choreography of Bobbi Jene Smith and Or Schraiber, directed by Zack Winokur.
The Music of Julius Eastman
Davóne Tines and Doug Balliett, AMOC members
Seth Parker Woods, cello
Episode 3: The legacy of Julius Eastman will come to the 2022 Ojai Music Festival in a multi-dimensional performance piece, reflecting Eastman’s art and the larger context of his life, creativity, and humanity. Showcased in this concert will be AMOC members Davóne Tines and Doug Balliett, along with cellist and frequent AMOC colleague Seth Parker Woods. Join us for another illuminating conversation on the creative process and Eastman’s impact on each of them.
Episode 2: Pianist and AMOC member Conor Hanick joins us for a lively conversation with Ara Guzelimian to talk about his advocacy for performing new works and his recent discovery of pioneering German composer Hans Otte’s The Book of Sounds, which Conor will perform in an epic recital at Ojai in June.
Conor Hanick is regarded as one of his generation’s most inquisitive interpreters of music new and old. A fierce advocate for the music of today, he has premiered over 200 works and collaborated with composers both emerging and iconic. Among them, he has worked with Pierre Boulez, Kaija Saariaho, and Steve Reich, in addition to championing music by leading composers of his own generation, including Caroline Shaw, Matthew Aucoin, Nina Young, Nico Muhly, and Samuel Adams. Conor appears regularly as a recitalist and chamber musician and in recent seasons has been presented by the Kennedy Center, Carnegie Hall, Caramoor Festival, Park Avenue Armory, and Gilmore Festival. Since 2014 he has been a faculty artist at the Music Academy of the West and in 2018 became the director of its Solo Piano Program.
Episode 1: Co-founders Matthew Aucoin and Zack Winokur of AMOC, 2022 Music Director, talk with Ara Guzelimian on the origin story of this exciting collective of artists
Learn about AMOC in 5 Minutes
The Ojai Music Festival’s 2022 Music Director AMOC (American Modern Opera Company) develops and produces a body of discipline-colliding work, to combine traditional and experimental artistic processes, and to maintain enduring creative relationships between its members. Founded by Artistic Directors Zack Winokur and Matthew Aucoin, AMOC is made up of some of the most adventurous singers, dancers, and instrumentalists at work today in the fields of contemporary and classical music and dance. Get a glimpse of this boundary-breaking ensemble and understand why they are a perfect fit for Ojai’s longstanding legacy of innovation and adventure.
We did it … Together!
Message from Ara Guzelimian
It turned out to be a magical time of reunion and renewal, as we celebrated our 75th anniversary Festival in the best of company. As I take a breath and reflect on that beautiful September weekend, I feel boundless gratitude. We gathered together in Ojai and cherished the singular joy of being in the company of music and musicians as a communal experience.
The predominant emotion of the concerts was one of joy and optimism, particularly as defined by the energies and creativity of a new generation of composers. John Adams was so very wise in making sure this anniversary festival looked forward. All our artists embraced that spirit wholeheartedly, especially determined to do so in the face of the painful events of the past eighteen months. Our great thanks go to John, not only for the riches of his own music, but also for the choice of artists and works which so beautifully defined the arc of this festival.
Let us take a moment to bask in just a few selected memories. Enjoy our photo gallery of Festival moments as captured by photographer Timothy Teague:
It took remarkable devotion on the part of many people to get us here, beginning with our dedicated Board of Directors who have been steadfast in their vision, generosity and clarity of purpose. I offer my heartfelt thanks to the artists, the staff, interns, volunteers and housing hosts who worked tirelessly to make this a most special festival, often in the face of unexpected challenges – did I mention that Víkingur Ólafsson was nearly turned away at the airport in Reykjavik because of confusion about his (entirely correct!) visa documentation? Somehow, there was always a solution to be found. Even the weather was ideal, with mild temperatures and soft breezes to bring Ojai enchantment
But I reserve a very measure of thanks to each of you, for your continued faith in the Ojai Festival, for complying with the safety measures, for your generosity in supporting the festival financially, and most of all, for your irreplaceable presence at concerts (and by extension, long distance by way of our streamed concerts). You help create one of the most attentive, understanding, adventurous, and open-hearted audiences I have ever experienced.
And now, we begin the happy anticipation of the Festival to come in June 2022. We had a vivid introduction to two more artists from AMOC (the American Modern Opera Company), the collective of 17 instrumentalists, singers, dancers, choreographers, and composers, who together will be the Music Director in June. Violinist Miranda Cuckson and flutist Emi Ferguson, core members of AMOC, both made brilliant debuts at this year’s Festival.
Miranda Cuckson shone in the virtuosic and expressive challenges of Samuel Adams’ Chamber Concerto, played a recital that ranged from Bach to Saariaho, and, in a stunning Libbey Bowl performance of Bach, created an iconic only-in-Ojai image:
Emi Ferguson played Gabriela Ortiz’s Huitzitl with expressive power and grace, despite the distractions of another only-in-Ojai moment, the sounding of a persistent security alarm nearby. So I thought it’s only fair to revisit Emi’s mesmerizing performance, this time with the benefit of some subtle audio filtering that magically minimizes the sound of the alarm and focuses attention entirely on Gaby’s evocative music and the beauty of Emi’s playing!
We can happily anticipate look ahead to more musical encounters with both Emi and Miranda, the return of favorite Festival favorite artists (and current members of AMOC) soprano Julia Bullock, bass-baritone Davóne Tines, and cellist Jay Campbell, as well as a happy introduction to all of the brilliant creative spirits of this endlessly-creative collective in the next Festival. We will meet all of the members of AMOC in the coming months by way of special online programming and conversations.
In the meantime, our wholehearted thanks to each of you. I look forward to seeing you all again in June 2022 or sooner!
2021 Festival Moments
Thank you for joining us! Revisit your favorite festival memories below
Note: Images have been optimized for web/social media display;
Please credit and tag Timothy Teague or Ben Hoffman for photo credit.
It is more than a festival. It is a homecoming, the recognition of a bond. On rough wooden benches — back in the day — or stretched out on the lawn, settled on a blanket, families in tow, this is a kindred fellowship, both alert and at ease. Performers get it right away because it only takes a rehearsal or two to realize that here it’s different. Young composers, cradling their newborn, often take more time. But after the jitters and anxieties of a premiere or first performance they look around and see where they are and are transformed.
For all the unseen planning of a dedicated staff (or more likely because of it) — Ojai always feels improvised, something that just happens. How easily conversations begin, over a new work, a performance, or this and that. Introductions come later, maybe after a year or two with a “remember when.” Then casual acquaintance blossoms into friendship. Yes, that’s a big part of it, the shared memories, something even initiates pick up on, when on Sunday they look back on Friday and the distance travelled in between. Something, too, about the place, the trees, the hills, the soft mists in the morning, the beating sun at noon, the evening chill. Old-timers know to come prepared, newcomers learn quickly. Then we leave, disperse, maybe one last meal and the long drive back, envying those who call Ojai home.
There are regulars, of course, true believers who attend every event. For others, however, Ojai is a smorgasbord — up for a day, perhaps, or an afternoon, or some years not at all. No matter; we all come back sooner or later, a habit formed through decades. Naturally, there have been changes. Time was, the festival was a simpler affair. Three days, five or six concerts; lots of time to spare, to chat, shop, a leisurely coffee, a bookstore browse, perhaps a walk, or bike ride. Back then Ojai sometimes felt like a coda to the Los Angeles season, to the Monday Evening Concerts, or the concerts of the Philharmonic, a showcase for the Southland’s finest, under the guidance, among others, of Lawrence Morton, Igor Stravinsky, Aaron Copland, Lukas Foss, Ingolf Dahl, Pierre Boulez, Ernest Fleischmann, not to mention resident composers such as Messiaen, Carter, or Kurtág — the legacies of giants. There was never a formula, a fixed agenda. There was freedom to pick, choose, and explore; to address the cultural and political preoccupations of the moment, to dare something new, to cozy up to something familiar, to be unapologetically eclectic. Ojai, as John Henken has written, “was always ahead of the counter- and multi-cultural curve.” Theater, dance, opera, non-Western music, and jazz have long been part of the mix. Just one thing: The music comes first.
by Christopher Hailey
Special thanks to Art Mentor Foundation Lucerne for their support of the Festival’s 75th anniversary season
2021 Festival: The Ultimate Act of Optimism
If the Ojai Festival aged like a human being, the formidable storehouse of memories it has already accumulated would likely tilt the spotlight of this 75th anniversary edition toward the past — perhaps in the form of a retrospective celebrating highlights of these many decades. But the very spirit of Ojai — its open-eared curiosity and resistance to received ideas — evades that kind of chronological, linear account-taking.
The dislocations caused by the pandemic, the implications of which are still unfolding, have even triggered something of a Benjamin Button effect. After the long, traumatic abstention from live performance, it feels as though we’re aging backwards as we reconsider the basic issues we may have thought long since sorted out. And the urgency of today’s social justice consciousness has intensified a desire to hit the restart button. Acting your age, in this age, is to make room again for a radical hope that not so long ago might have seemed utopian overreach.
“This year’s Ojai Festival brings a real focus to young talent: especially young composers, but also young performers,” says Music Director John Adams, who previously served in that role in 1993. Even though much of the programming was envisioned prior to the pandemic, Adams instinctively chose the future as the vanishing point for his image of musical vitality.
Not that this is a new outlook for the eminent composer. Born in the same year as the inaugural Ojai Festival, Adams himself has steadfastly resisted the temptation to settle into comfortable habits and predictable patterns even while being increasingly feted as a musical sage. Anyone who comes to his work with expectations still constrained by such long-outdated pigeonholes as “Minimalism” is bound to be astonished by his tireless development of a complex musical language — and particularly by the paths he has followed over the past 15 years.
Aside from his own composing career, Adams has long been committed to mentoring the new generation through his involvement in teaching, curating, and commissioning. Not long after resettling from his native New England to the Bay Area in the 1970s, he led a new music ensemble at the San Francisco Conservatory that presented many premieres and experimented with fresh voices. “I was thinking about what has really meant the most to me over the years, and particularly now, at my age, it is my relationships with these younger composers,” Adams says.
Ojai Festival’s Artistic and Executive Director Ara Guzelimian recalls that Adams insisted on this focus on the future early on: “When he began thinking about this summer’s program, he became so determined that even though this is an anniversary festival it should not be a retrospective in any sense — and that it should not be centered around his music. This idea of bringing discoveries of new composers to the audience is very fitting for Ojai. He wanted the takeaway of this Festival to be an exploration of the next generation — the ultimate act of optimism, because they are the ones who will carry us forward.”
But what does Adams find so promising in these young artists? Above all, it’s their openness to inspiration from all directions — temporally and across genres, from the classical tradition, from its avant-garde fringes, from the by-now inextricably interwoven discourses that fuel our many-layered musical lives. Composers like Carlos Simon are navigating new ways of relating to an increasingly interrogated canon while at the same time honoring the authenticity of voices that it has historically marginalized. “I’m excited that at this Festival we have such a broad bandwidth of talent and also backgrounds,” says Adams.
Guzelimian adds: “If there is one takeaway from the 75th anniversary Ojai Festival, it might be that there is health in being poly-stylistic.” In this sense, the composers and performers featured over this intense, long weekend of music-making mirror the identity that the Ojai Festival itself has cultivated over its history: an openness to new sounds, unusual combinations, uninhibited fusions and even contradictions, and, above all, to the possibility of genuine epiphanies amid these uncertain, fearful times. Sometimes, this might even be an attempted recovery of what was once known as a sense of the sublime, as we encounter in the world premiere of Dylan Mattingly’s Sunt Lacrimae Rerum.
Mattingly is among the California composers who have a particularly strong presence in Adams’s lineup — along with Gabriella Smith, Samuel Adams, and Anthony Cheung. This in turn represents a subsidiary theme of “homecoming” and a West Coast sensibility that runs through the programming — though this, too, cannot be reduced to a single trend. Gabriela Ortiz, the outstanding Mexican composer, extends this geographical orientation further and offers a potent counterweight to the Eurocentric focus that has so long dominated discussions of new music. “I think that music is very interested in other latitudes and other cultures, that the future is no longer limited to European aesthetics, as we were taught in the past,” Ortiz emphasizes.
And through the participation of Julie Tumamait- Stenslie, a modern-day leader of the peoples who originally inhabited this magical paradise-on-earth, we acknowledge the enduring presence of the Chumash people. They have given this place its name: “Awhay,” meaning “moon” or “lunar phase” — changed to “Ojai” to make it easier to pronounce — was chosen to replace the Germanic “Nordhoff” in the wake of the First World War.
Adams’s choice of performers likewise intensifies the focus on a fresh, youthful perspective that is redefining the entire field. Just before the pandemic shutdowns began, Adams got to spend time touring with Víkingur Ólafsson for some of the first European performances of his dazzling new piano concerto Must the Devil Have All the Good Tunes? “Not only
is Víkingur a phenomenal pianist, he also has an amazing creative mind,” Adams remarks, referring to the Icelandic pianist’s equally convincing approach to well-known repertoire and new scores.
Like the featured composers — including fellow pianist Timo Andres — Ólafsson approaches inherited tradition as a contemporary language, transforming it into an inescapably thrilling new experience. By the same token, the Attacca Quartet and Miranda Cuckson bring to the new scores they interpret a conviction that confers on them the sense of longstanding authority. And the incomparable Rhiannon Giddens is such a natural fit for Ojai that it’s surprising this summer marks her debut at the Festival. “She seemed to John and to me to be ideal,” recalls Guzelimian, “because she is one of the most genuine pan-stylistic artists I know. She’s somebody who really is deeply rooted and convincing in a wide variety of musics.”
If there is no overarching trend among the composers and performers who are shaping music’s future, there is a shared value — the value of acting their age, as Guzelimian puts it, recalling how Esa-Pekka Salonen was criticized at the beginning of his tenure with the LA Philharmonic for playing “too much” contemporary music: “He responded: ‘When I conduct Lutosławski’s music, I bear the same relationship and age to him as Karajan did to Richard Strauss.’ What he was essentially saying is, ‘I’m acting my age, I’m bringing forward what I know and love.’
I think this current generation is the least inhibited yet in drawing on the multiplicity of musics that they know.”
- Thomas May
2022 Music Director AMOC shares initial programming for 76th Festival
The 76th Ojai Music Festival is scheduled for June 9–12, 2022
Anchor programming will include world premiere performances:
- Staging of Olivier Messiaen’s song cycle Harawi by soprano Julia Bullock and pianist Conor Hanick, staged by Zack Winokur, with choreography by Bobbi Jene Smith and Or Schraiber, who also perform as dancers
- Broken Theater, staged and choreographed by Bobbi Jene Smith incorporating the entire AMOC company alongside special guest collaborators
- Family Dinner, a cycle of mini-concertos by Matthew Aucoin, featuring the entire AMOC company, including Davóne Tines, Miranda Cuckson, Emi Ferguson, and Keir GoGwilt
“For many decades, the Ojai Festival has been an artistic oasis, a place where artists and audiences alike go to be refreshed by the Festival’s atmosphere of openness, experimentation, and adventure. AMOC is thrilled and honored both to uphold Ojai’s essential spirit and to expand the Festival’s scope by offering numerous interdisciplinary offerings that feature our signature blend of music, dance, and theater. We can’t imagine a better forum to feature the astonishing work of AMOC’s many artists, and next year’s Festival will include several world premieres—including choreography by Bobbi Jene Smith, music by Matthew Aucoin, a production by Zack Winokur starring Julia Bullock and Conor Hanick, and much more. This Festival will be a welcome return for many of us: a return to Ojai for beloved Festival artists including Julia Bullock, Jay Campbell, Miranda Cuckson, Emi Ferguson, and Davóne Tines, and a return to collaboration with Ojai’s Artistic Director & Executive Director Ara Guzelimian for the many AMOC artists who have benefited from Ara’s wisdom throughout their careers.” — AMOC, 2022 Music Director
OJAI, California – September 15, 2021 – As the Ojai Music Festival begins the 75th Festival (September 16–19, 2021) with Music Director John Adams, the Festival’s 2022 Music Director AMOC (American Modern Opera Company) and Artistic & Executive Director Ara Guzelimian announce initial programming for the 76th Festival, June 9- 12, 2022, which will conclude the Festival’s 75th anniversary year.
“We are exhilarated to gather this week in Ojai for our long-awaited return to an in-person Festival with John Adams as Music Director and the central presence of a new generation of composers whom John has invited,” said Guzelimian. “This is such a fitting beginning to our 75th Anniversary celebrations. And we even get to meet two brilliant artists this September — violinist Miranda Cuckson and flutist Emi Ferguson — who are members of AMOC, the creative collective who serve as Music Director of the next Ojai Festival in June 2022. I am so delighted to be collaborating with the endlessly imaginative artists of AMOC as the culmination of our 75th anniversary celebrations. They represent a fearless discipline- and genre-crossing leap into a new generation of artistic work. Several of the AMOC artists — Julia Bullock, Davóne Tines, and Jay Campbell — are already well known to Ojai audiences, so there are elements of both reunion and discovery in this remarkable company of 17 artists. We are in for a great adventure.”
Ojai’s 2022 Music Director AMOC is a discipline-colliding collective made up of 17 of the most adventurous singers, dancers, instrumentalists, choreographers, and composers at work today in music and dance. For the 2022 Ojai Music Festival, AMOC will serve as the first-ever collective to hold the position of Music Director in the Festival’s 75-year history. As described by The Boston Globe, AMOC is “a creative incubator par excellence . . . where the boundaries between disciplines go to die.” A collective of some of the most creative, forward-thinking artists, AMOC is led by its co-founders — composer/conductor Matthew Aucoin and director/choreographer Zack Winokur — collaborating with Core Ensemble members Jonny Allen (percussion), Paul Appleby (tenor), Doug Balliett (double bass/composer), Julia Bullock (soprano), Jay Campbell (cello), Anthony Roth Costanzo (countertenor), Miranda Cuckson (violin/viola), Julia Eichten (dancer/choreographer), Emi Ferguson (flute), Keir GoGwilt (violin/writer), Conor Hanick (piano), Coleman Itzkoff (cello), Or Schraiber (dancer/choreographer), Bobbi Jene Smith (dancer/choreographer), and Davóne Tines (bass-baritone). Julia Bullock, Jay Campbell, Miranda Cuckson, Emi Ferguson and Davóne Tines will all make welcome returns to Ojai, having participated in past Festivals.
Programming for the 2022 Festival will include the world premiere performance of AMOC’s staging of Olivier Messiaen’s song cycle Harawi by soprano Julia Bullock and pianist Conor Hanick, staged by Zack Winokur, with choreography by Bobbi Jene Smith and Or Schraiber, who also perform as dancers. Harawi, written in 1945, is based on an Andean love song genre of the same name, with texts by Messiaen and incorporating the Quechua language. The 2022 Festival also will present the world premiere performance of AMOC’s Broken Theater, staged and choreographed by Bobbi Jene Smith and with participation by the entire company alongside special guest collaborators. Broken Theater is an intensely personal response to our time, beginning with the concept of a “ghost theater,” a theater empty in a time of isolation. The world premiere of Family Dinner also anchors the 2022 Festival. Family Dinner, a cycle of mini-concertos by Matthew Aucoin, features the entire AMOC company, including Davóne Tines, Miranda Cuckson, Emi Ferguson, and Keir GoGwilt. Additional programming details for Ojai 2022 will be announced in the fall.
AMOC (American Modern Opera Company), 2022 Music Director
Founded in 2017, the mission of AMOC (American Modern Opera Company) is to build and share a body of collaborative work. As a group of dancers, singers, musicians, writers, directors, composers, choreographers, and producers united by a core set of values, AMOC artists pool their resources to create new pathways that connect creators and audiences in surprising and visceral ways. The company’s current projects include Comet Poppea, which includes an AMOC-commissioned opera by composer George Lewis and is produced in collaboration with Anthony Roth Costanzo and Cath Brittan, and The No One’s Rose, a new music-dance-theater work created in partnership with San Francisco’s Philharmonia Baroque Orchestra and Stanford Live.
Past projects include Zack Winokur’s production of Hans Werner Henze’s El Cimarrón, starring Davóne Tines, which has been performed at the Metropolitan Museum of Art and the American Repertory Theater; a new arrangement of John Adams’s El Niño, premiered at The Met Cloisters as part of Julia Bullock’s season-long residency at the Met Museum; Davóne Tines’s and Winokur’s Were You There, a meditation on Black lives lost in recent years to police violence; and Bobbi Jene Smith and Keir GoGwilt’s dance/music works With Care and A Study on Effort, which have been produced at San Francisco’s ODC Theater, Toronto’s Luminato Festival, and elsewhere. Conor Hanick’s performance of CAGE, Zack Winokur’s production of John Cage’s music for prepared piano, was cited as the best recital of the year by The New York Times in 2018 and The Boston Globe in 2019.
MATTHEW AUCOIN, composer, conductor, pianist
ZACK WINOKUR, director, choreographer, dancer
JONNY ALLEN, percussionist
PAUL APPLEBY, tenor
DOUG BALLIETT, double bassist, composer
JULIA BULLOCK, soprano
JAY CAMPBELL, cellist
ANTHONY ROTH COSTANZO, countertenor
MIRANDA CUCKSON, violinist, violist
JULIA EICHTEN, dancer, choreographer
EMI FERGUSON, flutist
KEIR GOGWILT, violinist, writer
CONOR HANICK, pianist
COLEMAN ITZKOFF, cellist
OR SCHRAIBER, dancer, choreographer
BOBBI JENE SMITH, dancer, choreographer
DAVÓNE TINES, bass-baritone
Discover Art in Ojai – a curated tour by Frederick Janka
Our community, long known as a haven for artists, is now reveling in a dynamic collection of vibrant and innovative art spaces that are exciting and fun to discover and share with our out-of-town visitors and guests. Imagine the following selection of top Ojai arts venues as a virtual gallery crawl to enjoy in one afternoon where one is bound to find one’s self both delighted and inspired by each radically different art experience.
Let’s start our tour at a white well kept historic building from 1874 that houses the Porch Gallery Ojai. Located in the heart of town, the gallery presents a diverse schedule of exhibitions of talented local, national, and international artists. Also a local hub for events by many organizations and nonprofits based in Ojai and Ventura County, this is a true community gathering space centered around contemporary art. (310 E Matilija St, porchgalleryojai.com) Don’t forget to visit the Store at Porch Gallery the home of Beato Chocolates and many artist designed and inspired goods. Featured exhibition: John Millei: Works on Paper.
Head back now on Matilija Street and take a quick left up North Montgomery where you will find a handsome recently renovated cottage housing Canvas and Paper, the newest venue on our tour. Founded by a generous and scholarly collector, this is a small private gallery that offers a museum-like setting for contemplating three carefully selected works of art from the founder’s collection of 20th century modern and contemporary master works. (311 N Montgomery St, canvasandpaper.org). Featured Exhibition: Henri Matisse drawings.
The Carolyn Glasoe Bailey Foundation is a great Ojai art space to encounter museum quality artists from the greater Southern California region. The venue and its newest initiative, The Ojai Institute, is an artist residency, gallery, studio, and gathering space for artists and creatives. (248 S Montgomery St, cgbfoundation.org) Featured Exhibition: Porfirio Gutiérrez: Continuous Line/Linea Continua. Come by for a special gift to celebrate the Ojai Music Festival when you complete your art tour! Saturday only!
And there’s more! If you are attending one of the Saturday performances at the Zalk Theater at Besant Hill Scool, please make sure to visit the Beatrice Wood Center for the Arts, the longtime home and studio of the “Mama of Dada.” The center with its bright gallery and enticing gift shop offers a glimpse into Wood’s dynamic world of fascinating ceramics while also highlighting the works of some of our most talented local artists and artisans. (8585 Ojai-Santa Paula Rd) hours are Friday, Saturday, and Sunday, 11 am – 5 pm, Admission is $5 per person. Tours are $10 per person and include a discussion of Beatrice Wood’s life and work, as well as the Happy Valley Foundation’s fascinating history.
And on Ojai Avenue you will find The Basic Premise. An artists’ space and gallery, this is a great place for the new and established collector alike to discover art by some of the most daring and thought-provoking artists in the region. (918 E Ojai Ave, @thebasicpremise) Featured Exhibition: Tara Jane O’Neil & Jmy James Kidd in Residence.
Music Van Arrives!
Music Van is one of our most favorite activities that encourages students to try out musical instruments. This year, Music Van will go virtual, thanks to our collaboration with the Santa Barbara Symphony.
Ojai school children will be introduced to the instrument family in a new digital way. To supplement this virtual version, our very own BRAVO Committee has put together short videos to show just how much fun it can be to play an instrument. Special thanks to several local students who helped demonstrate!
Special thanks to our community partners for supporting our BRAVO programs!
Ojai Women’s Fund
Alice C. Tyler Perpetual Trust
John and Beverly Stauffer Foundation
City of Ojai
Montecito Bank and Trust