Copyright © Liliya Ugay

​Photocredit: Dilya Khaliulina

  • June 10: Victory Players will make a premiere recording of Ugay's Island of Enchantment as a part of Massachusetts International Festival of the Arts series at the WGBH Fraser Performance Studio (Boston, MA)
L I L I Y A   U G A Y
composer, pianist

Liliya Ugay

  • June 11: Ella ensemble premieres Ugay's Spread. Flowers. at the concert dedicated to the FSU College of Music former dean Patricia Flowers alongside with the works by Callender, Yu, and Zwilich. 7:30pm; Opperman Recital Hall, Tallahassee, FL. Live concert with audience.
  • South Florida Review reviewed a concert Dialogue | Juxtaposition of Unheard-Of/Ensemble performing Liliya's After the End of Time
  • Liliya Ugay received Opera America IDEA grant for creation of monodrama "Crossing the River"  (with librettist Sokunthary Svay, dramaturg Antigoni Gaitana, and soprano Jin-Xiang Yu). Opera America official press release

News and upcoming events



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


"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)