composer, pianist
  • Spread. Flowers. for piano trio, commissioned by Patricia Flowers and to be premiered by Ella Ensemble at Carnegie Hall (date TBA)


  • A Tale for One Viola - a 20-min work for solo viola commissioned by Florrie Marshall (Sound Bridges). Premiere TBA, New Haven, CT


Pandemic projects and postponed premieres:


  • Rags to be premiered at the Swan City Piano Festival in Lakeland, FL
  • Diabelli Variations commissioned by Associate Dean of Yale School of Music Melvin Chen (premiere TBA). Other composers for this project include Aaron Kernis, Hannah Lash, Krists Auznieks, and Katherine Balch
  • Island of Enchantment for Pierrot Ensemble for Victory Players to be premiered at the Massachusetts International Festival of the Arts, Holyoke, MA (date TBA)

Copyright © Liliya Ugay

​Photocredit: Dilya Khaliulina

Liliya Ugay

L I L I Y A   U G A Y
  • Unheard-Of Ensemble virtually premieres After the End of Time on Twitch, Nov. 13th

​​​​​​OPERA WOMAN OF LETTERS,

REVIEWS:


​"...Woman of Letters tugs at our heart strings"

(OperaGene)


"I was moved by the musical setting of the simple, emotional lines of an immigrant janitor who is invisible, “Do they see me?” and I loved the emotional build when the Father burst out with “What do you know [about this world] This world…where people rob you, where men hurt you.” The whole idea of who sees you as an immigrant, possibly minority, is a powerful and timely theme. The sure move toward the resolution, “Now I see you” shows that the idea for the work is sound"

(DC Theater Scene)


​"Most salient is its surprising use of opera itself as the necessary “change agent” in the father’s stance on his daughter’s desire to leave home. The work’s most confident and coherent music is given to Sonya’s aspiring opera singer friend, Dara, delightfully sung by soprano Alexandra Nowakowski."

(DC Metro Theater Arts)


"Ugay’s orchestral writing is strong. She also showed a facility for knowing idiomatic conventions of opera with the addition of neighbor girl who enters and rocks out like a Rossini songbird."

​(DC Theater Scene)


​"...Ugay’s music quickly and effectively delineates the differences between the characters... shows some considerable skill in writing for voice... obvious musical sensibilities and her understanding of how to flesh out characters through music"

​(A Beast In A Jungle)


​"...Ugay’s washes of evocative cinematic color somewhat cushioned the explicitness" (Washington Post)


"Each character gets a strong musical identity, the challenging, ascending lines for the daughter representing her yearning for the future, in contrast to the halting bass figures describing the father’s past trials." (Washington Classical Review)