Brooklyn Art Song Society to Open New Voices Festival

Why It Matters

The festival showcases emerging art‑song talent and strengthens transatlantic composer collaborations, enriching the modern classical repertoire for audiences and performers alike.

Key Takeaways

• BASS launches 2026 New Voices Festival on April 12.
• World premiere of Charlotte Bray's commission with poet Sholeh Wolpé.
• Program highlights contemporary composers from the United Kingdom.
• Sopranos Assalin, Finnegan; mezzo Levis; baritones Bell, Mextorf perform.
• Charlotte Bray delivers pre-concert lecture at 4:30 p.m.

Pulse Analysis

Brooklyn Art Song Society’s New Voices Festival has become a pivotal platform for contemporary art‑song, and its 2026 edition underscores that mission. By centering a concert around British composers, BASS not only diversifies its programming but also fosters cross‑cultural dialogue between U.S. audiences and the vibrant UK art‑song scene. The inclusion of a world‑premier commission by Charlotte Bray—paired with poetry from Sholeh Wolpé—highlights the society’s commitment to commissioning fresh works that blend modern literary voices with innovative musical language.

The festival’s lineup reflects a strategic blend of established and rising talent. Featuring sopranos Mireille Assalin and Maggie Finnegan alongside mezzo‑soprano Abi Levis and baritones Brandon Bell and Brian Mextorf, the concert offers listeners a rich palette of vocal timbres. Pianists Michael Brofman and Nathaniel LaNasa provide the essential accompaniment that brings these new songs to life. Bray’s pre‑concert lecture adds an educational dimension, giving audiences insight into the compositional process and the cultural significance of Wolpé’s text, thereby deepening engagement beyond the performance.

For the broader classical market, the festival signals a growing appetite for contemporary vocal repertoire that pushes traditional boundaries. By spotlighting emerging composers and commissioning new works, BASS helps sustain a pipeline of fresh material for recital programs worldwide. This approach not only benefits composers seeking performance opportunities but also attracts younger, more diverse audiences eager for relevance in classical music. As the festival gains momentum, it is poised to influence programming decisions across concert halls, reinforcing the importance of new art‑song in the evolving cultural landscape.