A true storyteller
Livingston is deep into her first season as composerin-residence at the Canadian Opera Company, a post that clinches the Toronto native’s place among Canadian composers with a knack for voices—and drama. The residency is designed to be tailor-made for each composer who holds it, and Livingston’s output during this time will likely feel quite different than that of her predecessor at the COC, Ian Cusson. At the moment, Livingston is taking a moment to be very fly-on-thewall, shadowing the likes of Music Director Johannes Debus and observing as they bring big scores from the page to the stage.
“That’s what I find most interesting,” Livingston says, “just seeing the level of musical detail work that’s possible when you’re working with excellent singers and an excellent conductor.”
And while Livingston was being walloped by Strauss, her own music was traveling to stages across the globe. Star Canadian mezzo soprano Emily D’Angelo just sang recitals at Toronto’s Koerner Hall and—the 2014 -inspired work for voice and piano that Livingston originally wrote for soprano Alexandra Smither. And over at Carnegie Hall, soprano Hera Hyesang Park just gave the premiere of , Livingston’s song cycle on text by Anne Michaels.
