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Ah! non credea mirarti from La Sonnambula (Bellini).
Excerpts from Carmina Burana (Carl Orff)
Candis' Song from GrandMother (Esmeralda Conde Ruiz), 2018.
Glottermohn (Undine aber sang, Norbert Laufer, 1998-99), 2020.
Ruby Nightingale has an unforgettable voice — hypnotic and warm, articulate as it unravels into long, clear tones of gently wavering vibrato...Going forward, technology will play an important role in how Nightingale's music evolves... Using a loop pedal, Nightingale improvised contrapuntal lines...They moved largely in parallel motion, enveloping the room, their presence almost physical.
-The Hartford Courant: Ruby Nightingale's Melodic, Mournful Vibrato Provokes A Fragile Intimacy
Though the track’s heart is based around Nightingale’s gently plucked guitar and operatic vocals... the ambient swirls that color the track give it a stunning depth. The sweeping noises in the background allow other instruments to dart into the song, retreating just as quickly as they came, enabling Nightingale to create a haunting world that’s all her own.
Very evident in this new single are her infectious harmonies, vibrant instrumentation, and heart string-tugging lyricism that all bring to us a feeling of serenity and nostalgia for home or places that resemble similar memories.
-Under The Gun
Here you come again (Dolly Parton) for solo voice and loop pedal.
Ma rendi pur contento (Bellini) for solo voice.
If you can hear me (Improvisation for solo voice and chosen objects) and Abstract for Trinity Laban Conservatoire MMus. Personal Project: A practical investigation into the relationship between experimental vocal music and performance art (1950–1980) with particular reference to Carolee Schneemann and Yoko Ono. Contact to read/see/hear more.
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