New Zealand-Canadian composer Juliet Palmer is known as a “post-modernist with a conscience” (The Listener) whose work “crosses so many genres as to be in a category of its own” (Toronto Star). Juliet is the artistic director of Urbanvessel, a platform for interdisciplinary collaboration. Recent works: Oil & Water, Detroit Symphony Orchestra (June 2019); Ukiyo, floating world, Urbanvessel and Toronto’s Thin Edge New Music Collective, ONGAKU Festival (September, 2019); Cutwork, Auckland Chamber Orchestra (October, 2019); and Sweat, a cappella opera, writer Anna Chatterton (CalArts, Los Angeles; Bicycle Opera tour; National Sawdust, New York). Her 2010 boxing opera Voice-Box was acclaimed as a “performance piece that smashes the boundaries between disciplines and leaves them sprawled out on the mat, down for the count” (Musicworks). Recent recordings include: small excesses, pianist Sarah Watkins and violinist Andrew Beer (Atoll CD release); and rivers, solo CD release (Barnyard Records, 2018).
Upcoming: Choreography of Trauma and Inside Us, audio-video installation and performance (Continuum and The Element Choir, February, 2020); Snag, for The Hamilton Philharmonic Orchestra with New Zealand conductor Gemma New (March, 2020); and Every Word Was Once An Animal with artist Carla Bengtson, biologist Emilia Martins, choreographer Darion Smith and ceramic artist Jessie Rose Vala, Eugene, Oregon (August, 2019).
Juliet was composer-in-residence at the New Zealand School of Music and Orchestra Wellington (2011/12), and an OAC Artist-in-Residence at Sunnybrook Research Institute (2018). She is the winner of the Detroit Symphony’s Elaine 2018 Lebenbom Award, a Chalmers Arts Fellow (2018-19), and a finalist for the Johanna Metcalf Performing Arts Prize (2019). Juliet holds a PhD in composition from Princeton University and an M.Mus in performance, composition and time-based art from Auckland University.