*rescheduled due to COVID-19
Portland Percussion Group Recording Session:
Portland Percussion Group Audio-Video Recording Sessions; TBD 2021; Revolution Hall, Portland, OR
*Queer Opera Workshop:
Queer Opera; December 10-19, 2021, TBD; Portland State University, Portland, OR
*An African American Requiem:
The African American Requiem Choir featuring Resonance Ensemble and the Oregon Symphony; May 7th, 2022, TBD; Arelene Schnitzer Concert Hall, Portland, OR
Makrokosmos Project 7 - Fanfare for the Uncommon Woman:
The Seasons - Winter Zephyrs featuring Portland Percussion Group ; June 24th @ 7pm, 2021; Portland Piano Company, Portland, OR
Songs for Quarantine:
Eugene Opera release Episode 4 of Songs for Quarantine; featuring Carolyn's "To Breathe," June 21st, 2021; Eugene, OR
NATS Regional - Musical Theater Competition: [4th Place]
NATS, Virtual Solo Competition; March 1st, 2021; Portland, OR
Persisting Sound featuring Lisa Neher, Drew Swatosh, and Carolyn Quick; November 2020; Portland, OR
"It’s a mistake to see this as a battle for “wokeness” or representation. What matters is the music. Pop music would be a less vibrant place without Laurie Anderson. Björk, Kate Bush, PJ Harvey, Lizzo or Lorde. Similarly, classical music would be a lot less vibrant without Shaw, Ustvolskaya, [Carolyn] Quick, Monk, and all the rest. As this program demonstrates, femininity is complex."
"Makrokosmos Project will present two events this summer with music by nineteen women composers...this program will feature Black, White, and Brown composers. Highlights include music by Pulitzer-Prize winning composer, Caroline Shaw, Galina Ustvolskaya, Jessie Montgomery, Carolyn Quick, among others."
"The Call for Scores for Songs for Quarantine asked classical composers to send us works written for singers that reflect on the crises that we have faced in 2020. Thematic topics included challenges of quarantine, social distancing, relationships, COVID-19 response, medical heroism, intergenerational concerns, racial issues, poverty, policing, and personal reflections."
"Written and oral testimony by Kavanaugh and/or his accuser, Christine Blasey Ford, becomes spoken or sung text mixed with live acoustic and/or electronic sounds in...Portland composer Carolyn Quick’s Stop the Clock and Reinkemeyer’s Opening Up."
"Fear No Music’s 2019-20 season “Justice (Just Us)” connects Portlanders to the international movement of restorative justice and forgiveness-based healing, through the medium of music...Fear No Music expands audiences’ awareness of and capability to process emotions associated with the stark realities of the world we live in, thus offering an avenue for healing and positive change."
"Social media is a key part of how Symphony 21 intends to change perceptions: most audience promotion has taken place online. Quick’s pre-concert talk will use Twitter to maximize interaction."
"Carolyn Quick presents "Stop the Clock," for women's voice, string quartet, piano and percussion. Through found text and poetry, "Stop the Clock" brings a musical voice to Christine Blasey Ford's statements during the 2018 Kavanaugh Hearings."
"[T]heir season-opening Hearings concert at The Old Church amplifies the #metoo movement with newly commissioned music...The eight composers...incorporated text and audio from the proceedings into their music, and this is certainly gonna be a heavy one....Not recommended for #snowflakes."
"Carolyn Quick attempted to find a measure of peace and hope through her delicate and sensitive use of orchestration, which evoked beams of sunlight shining through the dense smoke."
"The program filled a void in many ways. It was intense and operatic! These kinds of opportunities are rare and it is an important part of moving the art form forward."
"She wowed the critics in Eugene Opera’s The Turn of the Screw last October and is on her way to the University of British Columbia in Vancouver to develop her already impressive composing skills."
"Hard-to-cast Miles was sung by college-undergrad soprano Carolyn Quick, whose pure timbre was such that anyone blindfolded would have taken her for a precocious boy treble."
"The 15-person cast features a select group with vocal performance experience, three of whom are the leads of the play, Orfeo, Euridice and the God of Love...[t]his performance also has a unique twist: all three of the leads (including the male role Orfeo) are played by women."
"The seemingly happy children, Miles (performed by fourth year UO music composition and voice undergraduate Carolyn Quick) and sister Flora (sung by Salem native Emily Way), slowly become demonstratively disruptive."