A simple glance at the pages has already told me that the strikingly imaginative Juliana has still not lost her touch…gracious to sing and hear, interesting piano accompaniments, always worthy texts…the many beautiful songs you are amassing remind me of the bundles of ribbon-bound poems Emily tucked away in her trunk…some day soon, every recital in the world will have on it some songs by Juliana Hall!
Dominick Argento, composer
University of Minnesota
There is a beautiful alchemy that occurs when composer Juliana Hall meets a poem. Revealing each morsel of poetry through her brilliant tonal, textural, and rhythmic language, her work is immediately recognizable and wonderfully familiar. Singers and audiences alike take delight in her songs…It is also incredibly evident that 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
Artistic Director, Bard Graduate Vocal Arts Program
I was immediately caught up in her choices of poetry and her amazing and interesting writing for both the voice and the piano and how both parts were inextricably conceived. It is clear how much she loves words. The more I studied the pieces, the more depth and details I discovered. Her ability to illuminate the poetry is splendid. Most recently I had the pleasure of premiering her song cycle, Of That So Sweet Imprisonment, with Stephanie Blythe in New York City. The poetry by James Joyce is set with rich insight and the arc of the song set is inventive and satisfying. I have made it my journey to obtain all her song cycles (and she is prolific!) so that I may learn more and more of her works.
Alan Louis Smith, pianist and composer
USC Thornton School of Music
Juliana Hall’s song output, over thirty plus years now, continues to touch me deeply. She is, spot on, one of the finest text setters writing English song anywhere, always leading with her distinctive and feminine voice combined with a big pianist’s brilliance and her uncanny way of writing music that gives singers the ability to be better than their best, so natural and well-written it is. Juliana Hall weaves spells and makes magic happen to performers and audiences alike!
Margo Garrett, pianist
formerly Head of Collaborative Piano, Juilliard School
remarkable songs – gems with both substance and beauty
Richard Lalli, baritone
Yale University
Composer Juliana Hall’s music is to poetry what light is to a prism; it brings out a wealth of colors from the text, enabling the musician-interpreters to travel down a variety of expressive pathways.
Molly Fillmore, soprano
Vocal Studies Chair, University of North Texas
Juliana has mastered the ability to compose gorgeous art songs for any voice type
Brian Asawa, countertenor
Metropolitan Opera
Juliana Hall’s songs are incredibly special works of art. She captures the essence of each poem drawing you in to the character or mood immediately, adding delicious moments of word-painting for both singer and pianist. She has an innate understanding of the voice, creating opportunities for one to hone individual technical skill and story-telling abilities…her songs create a unique sound world that weave a wonderfully complex dramatic journey that always leaves you wanting more.
Megan Roth, mezzo soprano
Artistic Director, Calliope’s Call
It has been a thrill to study and coach your duets in Orvieto for the last two summers! Your duets are beautiful and they challenged our singers vocally, musically, and artistically. We spent a lot of time discussing the poetry and how it related to melodic contour and harmonic changes – and it was wonderful watching singers grow because of the challenges and rewards your music presents.
Dr. Susan Hochmiller
Coordinator of Vocal Studies, Sunderman Conservatory
at Gettysburg College, Director of Art of Song, Orvieto
Music Festival, and Author of So You Want to Sing Chamber Music: A Guide for Performers
Juliana Hall writes true chamber music, creating an intimate and deep relationship between the piano and vocal line.
Maggie Finnegan, soprano
Winner, Washington International Voice Competition
One of Hall’s greatest gifts as a composer is her ability to transport the listener inside the poem as though it were a universe all its own where all other things fall away; leaving us with only her rich harmonies and hauntingly beautiful melodies to guide our journey.
Brian Armbrust, composer
Artistic Director, Seattle Art Song Society
The songs of Juliana Hall offer a treasure trove of vocal and musical opportunity that is worthy of anyone’s exploration. Her music’s deep connection to text, colors, and emotional gesture offer a significant resource for the development of students and professionals alike – not to mention make for a real centerpiece on a song recital. Her music should be studied, cherished, and celebrated throughout the world.
Sam Martin, pianist
Artistic Director, Cincinnati Song Initiative
Juliana Hall’s works should be in every studio, and they should absolutely be included in every coaching and collaborative setting, and in every art song literature course and text.
Maya Hoover, mezzo soprano
University of Hawaii at Manoa
With an impressive catalogue of song offerings, singers of every level will find challenging and satisfying repertoire in the music of Juliana Hall. Her adroit text choices, sensitivity to the demands of each voice for whom she has written, and the lively, fulfilling collaborative accompaniments are sure to please even the most sophisticated palate.
Darryl Taylor, countertenor
Vocal Arts Director, University of California at Irvine
Juliana’s work is pure delight.
Jayne West, soprano
Longy School of Music
sophisticated, thought provoking art songs
Katherine Eberle, mezzo soprano
University of Iowa
…while this is music that is not for the beginner, navigating the shifting sands of her harmonic language would be a great exercise for any young mind in developing a thorough understanding of contemporary song in the 21st C.
Martha Guth, soprano
Sparks & Wiry Cries
When my voice professor handed me the score to Juliana Hall’s O Mistress Mine, I had no clue that I was holding a key to many of the pedagogical questions that needed answering in my technique.
Michael Skarke, countertenor
Master’s student, Baylor University
Even in the most conflicting text-painting moments, Juliana is always able to weave in one of her trademark compositional qualities, delicacy.
Joel Burcham, tenor
University of Oklahoma
Singing Juliana’s work is like inhabiting a world…a powerful experience!
Catherine Gardner, soprano
East Carolina University