As an artist who has often walked the line between academic training institutions and DIY settings, I am thrilled to be able, as a CNMN board member, to listen to the needs of artists and to help make space for the evolving definition of New Music in Canada. I am particularly interested in what this means for the inclusion of diverse forms of creation across the country, and the ways we can connect together through love for the act of listening, which is what brought so many of us to the field of music/sound in the first place. I firmly believe that despite coming from varied backgrounds, the artists, ensembles and organizations that we strive to bring together under the umbrella of the CNMN are united through an engagement and genuine curiosity towards the act(s) of making and experiencing sound. As a board member, I strive to facilitate communication and partnership, both within “New Music” and outwards — in our greater communities and with our colleagues practicing in other disciplines.
Sarah Albu is a Montreal-based singer, actress, and multidisciplinary artist specializing in vocal performance at the intersection of music and theatre. Highly sought after as a soloist performing contemporary and experimental work, she collaborates extensively with many musicians, ensembles, composers, film-and-theatre-makers, and artists working across disciplines. She recorded and self-produced her first solo album in 2013.
Also active as an improvisor, sound designer, experimental noisemaker, choral singer and yoga musician, Sarah’s performative and compositional pursuits take inspiration from a variety of styles and historical traditions. A native of Windsor, Ontario, her introduction to musical life included coming of age as a self-taught electric bassist on the punk scene, singing in church and chamber choirs and performing and teaching musical theatre. Highlights include a centennial performance of Schoenberg’s Pierrot Lunaire at the Banff Centre for the Arts, Peter Maxwell Davies’ Miss Donnithorne’s Maggot and Georges Aperghis’ Les Sept Crimes d’Amour with Montreal’s Ensemble Paramirabo, two roles in Vocalypse Productions’ immersive opera Miss Fortune’s Portmanteau (Halifax), a theatrical and spatialized solo voice and electronics program presented by Codes d’Accès, a series of musical interventions and performative artist talks investigating voice and positionality with Ruby Kato Attwood, and a darkly comedic cabaret concert — Songs and Niaseries — with vocal improvisors Gabriel Dharmoo and Elizabeth Lima. She studied classical voice and theatre/performance art at Concordia University and began graduate work at the Conservatory of the Hague in September 2016.