American art song composer Juliana Hall specializes in creating vocal works: “glistening, poignant music” (Gramophone), “complex in conception and construction” (Planet Hugill, London) with “graceful, nuanced vocal lines” (Opera News).

Hall’s more than 60 song cycles, monodramas, and vocal chamber works have been described as “brilliant” (Washington Post), “beguiling” (The Times, London), and “the most genuinely moving music of the afternoon” (Boston Globe) — “masterful writing in every respect” (NATS Journal of Singing).

Hall attended the Yale School of Music as a graduate student, studying composition with Frederic Rzewski, Leon Kirchner, and Martin Bresnick, receiving her masters degree in 1987. Following Yale she moved to Minneapolis to study with renowned vocal composer Dominick Argento.

Shortly after arriving in Minnesota later in 1987, she wrote a song cycle as a first commission for soprano Dawn Upshaw. The piece received both popular and critical acclaim, with performances across America and around the world. In 1989, Hall was awarded a Guggenheim Fellowship in Music Composition, as well as her second commission for a song cycle for Metropolitan Opera baritone David Malis.

Since completing her studies, Hall has composed works for dozens of singers, including vocal luminaries Brian Asawa, Stephanie Blythe, Molly Fillmore, Anthony Dean Griffey, Zachary James, Randall Scarlata, and Kitty Whately.

Hall’s music has been performed at venues such as the 92nd Street Y, Ambassador Auditorium, Blackheath Halls, Concertgebouw Recital Hall, DiMenna Center for Classical Music, Herbst Theatre, Isabella Stewart Gardner Museum, the Library of Congress, Ordway Music Theater, St. Paul’s Cathedral, Weill Recital Hall at Carnegie Hall, and Wigmore Hall.

Hall’s music has also been performed at numerous festivals, among them the Bitesize Proms, Beverley Chamber Music, Buxton International, Carmel Bach, Festival Internacional de Música de Cámara de Barranquilla, Limes, Music and Beyond, Norfolk Chamber Music, Ojai, Oxford International Song, Salisbury International, Source Song, and Voces8 Live from London Festivals, in addition to the International Song Festival Zeist, Lindsey Christiansen Art Song Festival, London Festival of American Music, Northern Ireland Opera Festival of Voice, Rhonefestival für Liedkunst, Schumannfest Düsseldorf, and the Sparks & Wiry Cries songSLAM Festival.

In discussing her long-time career interest in writing vocal music, Hall shares that, “I have rarely gone a day without some sort of text in my mind, primarily poems, but also diaries, fables, letters, play texts, and sacred writings. Great writers illuminate beauty, truth, and magic present in even the smallest of things in our world, and since song is all about text, it is those writers’ insights I wish to share in my songs.”

. . . read more about Juliana Hall

Some Things Are Dark  –  song setting of a poem by Edna St. Vincent Millay
Dawn Upshaw, soprano  :  Margo Garrett, piano

The Mystic Trumpeter  –  large song setting in eight parts based on a poem by Walt Whitman
Anthony Dean Griffey, tenor  :  Warren Jones, piano

AHAB  –  monodrama on a libretto by Caitlin Vincent
Zachary James, bass-baritone  :  Charity Wicks, piano

At That Hour When All Things Have Repose  –  song setting of a poem by James Joyce
Stephanie Blythe, mezzo-soprano  :  Alan Louis Smith, piano

A World Turned Upside Down : August 13, 15, 16, 17, 2025
Waterperry Opera Festival : Waterperry, Oxfordshire, UK
Ana Balestra, soprano : Su Choung, piano

A World Turned Upside Down : November 5, 2025
The Howard Room at JW3 : London, UK
Ana Balestra, soprano : Su Choung, piano

“strikingly imaginative…gracious to sing and hear, interesting piano accompaniments, always worthy texts”   –   Dominick Argento, composer

“she understands the singing voice and the great art of collaboration with the pianist—there is a level of musical discourse here that demands expertise, and rewards the work with a generous and complete technical, interpretive, and emotional experience—it is positively magical!”   –   Stephanie Blythe, mezzo-soprano

“Thanks for the latest batch of songs—I just played them for my class at Juilliard—very exciting”   –   Paul Sperry, tenor

“amazing and interesting writing for both the voice and the piano…her ability to illuminate poetry is splendid”   –   Alan Louis Smith, composer and pianist

“Juliana Hall’s songs are like precious jewels; rare treasures from nature polished and brilliantly shaped by one of the rarest and most personal compositional voices of our time.”   –   Margo Garrett, pianist

“glistening, poignant music”   –   Donald Rosenberg, Gramophone Magazine

“a brilliant cycle of songs”   –   Joseph McLellan, Washington Post

“the most genuinely moving music of the afternoon”   –   Richard Dyer, Boston Globe

“remarkably complex in conception and construction…powerful and imaginative statements”   –   Robert Hugill, Planet Hugill

“extraordinary talent for crafting music that translates the meanings of texts into sounds that can be felt as well as heard…Hall exhibits an uncanny faculty for amplifying the innate musicality of poets’ diction”   –   Joseph Newsome, Voix des Arts