StLToday.com: 'Marlissa Hudson's portrayal was warm, loving and slightly sassy, with a soaring high voice that didn't quit.'

[Marlissa Hudson]

“I just finished a run performing 'Dead Man Walking', and I have to tell you it was one of the most intense, thought-provoking operas in which I've ever sung (or heard). A link to the review is below; the quote referring to me was as follows:

'Sister Rose is the voice of caution and comfort in Sister Helen's life; soprano Marlissa Hudson's portrayal was warm, loving and slightly sassy, with a soaring high voice that didn't quit.'

http://www.stltoday.com/entertainment/arts-and-theatre/reviews/article_f999f7c4-cb66-11e0-a710-0019bb30f31a.html#ixzz1WL1ib81U

“I'm so grateful for your excellent work, and hope you don't mind me keeping you in the loop of my various projects!

Warmly,

Marlissa”

Marlissa Hudson| lyric coloratura soprano

http://www.marlissahudson.com

Marlissa Hudson in Free Concert Premiere of Barbara Harbach's Song Cycle 'Harriet's Story' April 7 in Bel-Nor, Missouri

[Marlissa Hudson, soprano; Harriet Scott (St. Louis American)]

Jeffrey James Arts Consulting

“World Premiere of Chamber Music by Barbara Harbach on April 7 at Unity Lutheran Church in Bel-Nor, Missouri

“Barbara Harbach’s Harriet’s Story for soprano, violin and piano will be given its World Premiere on Thursday, April 7 – 7:00 PM at Unity Lutheran Church, 8454 Glen Echo Dr. in Bel-Nor, Missouri. This Missouri Celebratory Concert is presented by the University of Missouri-St. Louis Women Studies Program and Women in the Arts.

“Harriet’s Story is a song suite in three movements - I. Frontier Slave, II. No Reason to Learn and III. Sister Harriet Tubman. 'I consider “Harriet’s Story” to be a dramatic song cycle with large, sweeping gestures in the first two movements,' Harbach told The St. Louis American in a recent interview. 'The third movement has an edginess to it. I still use a lot of melodies, it’s still my own musical language, but it’s edgier, more intense-sounding than my other works.' Performers will be Marlissa Hudson, soprano, David Gillham, violin and Alla Voskoboynikova, piano. You can read the St. Louis American story at http://www.stlamerican.com/entertainment/living_it/article_7de96214-5b49-11e0-871c-001cc4c03286.html.

“The concert will also feature Ms. Harbach’s Freedom Suite for string quintet, performed by the Dickson String Quartet, with Charles Clements on bass, and The Mechanical Cat – a preview of a new St. Louis musical, with music by Gretchen Hewitt and lyrics by Janet Goddard. The concert introduction will be given by Ms. Lynne Jackson of the Dred Scott Heritage Foundation, and the great-great-granddaughter of Dred and Harriet Scott.

“The historic Scott family that inspired Freedom Suite is best known for the 1846 suit Dred and Harriet filed in St. Louis in an attempt to obtain their freedom from slavery. 'I was inspired and fascinated with the story of Harriet and Dred Scott,' Harbach told the St. Louis American in another recent article. 'Although they could neither read nor write, their legal fight for freedom would eventually contribute to the Civil War and the end of slavery in America.'

"Read the article online at http://www.stlamerican.com/entertainment/living_it/article_2b7068d0-19b2-11e0-9109-001cc4c002e0.html The April 7 program is free and open to the public. For more information, call 314-382-4241 or visit http://blogs.umsl.edu/news/2011/03/31/dred-scott/."

Podcast of Patrick D. McCoy's Interview With Fred Onovwerosuoke & Marlissa Hudson Available for Download

[Fred Onovwerosuoke, Marlissa Hudson, Libera]

Fred Onovwerosuoke sends this update on the recent interview he and Marlissa Hudson had with Patrick D. McCoy:

Composer Fred Onovwerosuoke drops in on host "The African-American Voice in Classical Music" Patrick D. McCoy with Washington, D. C. based soprano Marlissa Hudson on Thursday, Feb. 3 , 2011 at 11AM (EST) to discuss the new recording Libera, featuring original works and traditional works sung by Ms. Hudson, accompanied by pianist Peter Henderson. You may download, listen and forward the podcast at http://www.blogtalkradio.com/patrickdmccoy/2011/02/03/composer-fred-onovwerosuoke-and-soprano-marlissa-hudson.mp3?localembed=download

Patrick D. McCoy: Fred Onovwerosuoke & Marlissa Hudson are Interviewed on 'Libera' Feb. 3, 11 AM (ET) BlogTalkRadio.com

[Marlissa Hudson, Fred Onovwerosuoke, Libera]

Patrick D. McCoy sends this news about his program on BlogTalkRadio.com:

“Next Broadcast: Composer Fred Onovwerosuoke drops in on 'The African-American Voice in Classical Music' host Patrick D. McCoy with Washington, D. C. based soprano Marlissa Hudson on Thursday, Feb. 3 , 2011 at 11AM (EST) to discuss the new recording Libera, featuring original works and traditional works sung by Ms. Hudson, accompanied by pianist Peter Henderson.

http://www.blogtalkradio.com/patrickdmccoy/2011/02/03/composer-fred-onovwerosuoke-and-soprano-marlissa-hudson

'St. Louis American' on Fred Onovwerosuoke's CD 'Libera': 'Africa meets art song'

[Fred Onovwerosuoke produced Libera by Marlissa Hudson, with Peter Henderson on piano, featuring six of FredOs own compositions along with spirituals and European art songs.]

The St. Louis American

http://www.stlamerican.com

Posted: Wednesday, January 19, 2011 Updated: Thursday, January 20, 2011

By Chris King

“Fred Onovwerosuoke adopted the nickname 'FredO' because of the notorious difficulty of pronouncing his family name, but it is actually appropriate that it's hard to say the man's name. That is because it is difficult to put into words his many talents and accomplishments as a composer, conductor, publisher, arts organizer, folklorist and tireless promoter of new and innovative music. This Ghanaian of Nigerian descent who has made St. Louis his home has a new release on his African Music Publishers imprint that spotlights one of St. Louis' native daughters: the soprano Marlissa Hudson. The CD is titled Libera - no, that is not a misprint for 'Liberia' - and like everything else FredO touches, it is not simple to describe.

“We can start with what is somewhat easy to account for. Marlissa Hudson, who now lives in Washington, D.C., has a fascinating voice that carries intense emotion at the high end of her range and moody soul on the low end. This is art song, not soul or gospel, so she sings with an intonation and phrasing heard in the concert hall, rather than the church pew. To FredO's credit, he has worked hard to open this more formal music to African-American audiences in St. Louis, and in Hudson he has found a talented accomplice. She is backed on Libera by Peter Henderson on piano. In the classical music crowd in St. Louis, Henderson is a name to conjure with - up there with David Robertson, the musical director of the St. Louis Symphony Orchestra, who makes use of Henderson's talents often. Onovwerosuoke, who produced and executive-produced this recording, selected an exciting variety of tunes and tempos for Henderson's expert hands. If the soprano and the songs steal the show, that is because the accompaniment provides the perfect basis for the singer to soar.

“Describing the material takes us into the complexity always associated with FredO's work. Nearly half of the record - six of its 14 songs - could be described as African-American classics, except that a white man, Mark Hayes, composed four of them. These deeply felt spirituals, drawn from Hayes' 10 Spirituals for Solo Voice (accompanied on piano here), treat familiar biblical themes and should please lovers of church music. The same can be said of African-American composer Margaret Bonds' arrangement of 'He's Got the Whole World in His Hand,' which concludes the record. FredO also has selected another Bonds composition, 'Minstrel Man,' from her Three Dream Portraits, in which she scores poetry by the great Langston Hughes. This effort by Bonds has a hint of musical theater to it.

“Onovwerosuoke could have rounded out the record with more tunes like this and gone the relatively easy route of couching this as an African-American culture record. But his style - his mission - is to expand and mingle traditions. That is why the other half of the record is drawn from high European classics - Puccini and Mendelssohn - and African idioms interpreted by FredO himself, who knows one sure way to get your own material performed and recorded is to commission and produce the recording! It's important to emphasize that this is anything but a vanity project for the composer/producer. Indeed, Onovwerosuoke's six compositions provide some of the most exciting and memorable moments on Libera. The African ideas translate beautifully into art song, and you can hear the musicians diving into them with joy and delight.

"These six songs are taken from Onovwerosuoke's 12 African Songs for Solo Voice and Piano, which draws from folktales, lullabies, dirges and healing dances from all over the African continent. The piano lines in his songs are lively and catchy - indeed, though their sources are more exotic than African-American spirituals or Langston Hughes, FredO's African songs have the most popular appeal of all the material on this recording. You may not know exactly what you are singing, but once you have heard Marlissa Hudson sing FredO's songs over the energetic piano playing of Peter Henderson, you may find yourself singing along - and still singing his songs after the recording has spun to a close.

"The music for 12 African Songs for Solo Voice and Piano is due for publication this spring from Oxford University Press, though individual songs are already available through African Music Publishers. Libera and several other FredO productions on CD also are available through AMP. Call 314-652-6800, email amp@africarts.org or visit http://www.africarts.org." [Margaret Allison Bonds (1913-1972) is profiled at AfriClassical.com, which features a complete Works List compiled by Prof. Dominique-René de Lerma of Lawrence University Conservatory]

African Musical Arts, Inc. Presents New CD Release, 'Libera,' With Soprano Marlissa Hudson

ST LOUIS (January 4, 2011) — American soprano Marlissa Hudson has been described as a 'superb lyric coloratura' (St. Louis Post-Dispatch). With widely varied roles both on the operatic and concert stage, including Bess in Gershwin’s Porgy and Bess and Zerbinetta in Strauss’ Ariadne auf Naxos, Ms. Hudson continues to earn glowing critical reviews. In an age where the classical music industry competes to maintain and attract new audiences, the very charming Marlissa, accompanied by pianist Peter Henderson, offers a new voice. The album is refreshing, conservatively mixed for intimate listening. In my opinion, the sampling of composers is deliberately mixed, as composer and producer Fred Onovwerosuoke puts it, "music by new American immigrants along with the usual staple of standard repertoire.” This CD draws both classical music buffs and music enthusiasts, alike.

- Melanie Knolls

African Musical Arts, Inc.

Presents New CD Release

African Musical Arts, Inc. 3547 Olive Street, Suite 110, St Louis MO 63103

Tel: 314-652-6800 Email: info@africarts.org Web: www.africarts.org

FOR IMMEDIATE RELEASE

Date: January 4, 2011

Organization: African Musical Arts, Inc.

Phone: (314) 652-6800

Email: info@africarts.org

Peter Henderson

John Malveaux: At 'The Ballad of the Brown King,' With Soprano Marlissa Hudson, 'I awarded Ms. Hudson a standing ovation'

[Marlissa Hudson, Soprano]

John Malveaux of MusicUNTOLD.com sends us his account of the performance of Marlissa Hudson, Soprano in the Margaret Bonds and Langston Hughes choral work The Ballad of the Brown King:

John Malveaux attended the December 12, 2010 Long Beach Chorale’s American Epiphanies concert program with guest Marlissa Hudson, Soprano. I went to hear “The Ballad of the Brown King: A Christmas Cantata” (Langston Hughes/Margaret Bonds). I awarded Ms. Hudson a standing ovation for the featured piece although she was frequently held out and sat down. In addition to Ms. Hudson's pleasant singing and appearance, the piano part/score was capturing to this first time listener. I wondered if the piano part could stand alone.

The highlight of the evening to me was Ms. Hudson's solo performance of the African-American spiritual “Sweet Little Jesus Boy” arranged by Robert MacGimsey. Ms. Hudson fully showcased her voice and presentation. “Born in Pineville, Louisiana of white, Caucasian parents, Robert MacGimsey spent most of his formative years in the company of African Americans who lived and worked for and with his family. Due to their influence he wrote in the African American style and so prevalent are his songs he is often mistaken as an African American composer” - Wikipedia. The program closer was the African American spiritual "Go, Tell It on the Mountain, Roland Carter arrangement.