Laura Weiner

Performer and teaching artist based in New York City

Upcoming performancES

April 2-6- Talea Ensemble at Tulane University, New Orleans, LA

Works by Tulane University composers

 

April 11-12- Decoda at Philadelphia Chamber Society

Works by Nielsen, Brad Balliett, and Kurtag 

 

April 21- Metropolis Ensemble at Metropolitan Museum of Art

World premieres by Caroline Shaw and Timo Andres

 

April 26, 1 pm- Novus NY at Trinity Wall St Church- Total Embrace Festival

Mahler- Das Lied von der Erde

 

May 3, 5, 6, 9, 11, 13- Heartbeat OperaFidelio for 2 horns, 2 celli, and piano

 

May 3, 1 pm- Novus NY at St Paul's Chapel- Total Embrace Festival

Mahler- Kindertoten Lieder and Wachner- Epistle Mass

 

May 10, 1 pm- Novus NY at St Paul's Chapel- Total Embrace Festival

Daniel Felsenfeld- Astrophysical Mass

 

May 17, 1 pm- Novus NY at St. Paul's Chapel-Total Embrace Festival

Bernstein- Arias and Barcarolles

 

May 19, 3 pm- Washington Heights Chamber Orchestra

Brahms- Symphony No. 2

 

May 24-26- New York Philharmonic

Strauss-Eine Alpensinfonie

 

May 31, 1 pm- Novus NY at St Paul's Chapel- Total Embrace Festival

Copland- Connotations and Wachner- Gaude

 

June 1, 1 pm- Novus NY at St Paul's Chapel- Total Embrace Festival

Bernstein- Anniversaries

 

June 2- 8 pm- Novus NY at St Paul's Chapel- Total Embrace Festival

Bernstein- Chichester Psalms

 

June 22, 1 pm- Novus NY at St. Paul's Chapel- Time's Arrow Festival

Ligeti- Violin Concerto 

 

June 23, 1 pm- Novus NY at St Paul's Chapel- Time's Arrow Festival

Brahms- German Requiem

 

June 26-July 2- Residency at Avaloch Farm Music Institute, Boscawen, NH

July 10/17- Decoda Skidmore Chamber Music Institute, Saratoga Springs, NY

August 5-August 11- Composer's Conference, Brandeis University, MA

 

 

Reviews

The creative songwriting project that Laura conceived and led between NYPD officers and teens received national news attention.

Genghis Barbie was featured in the 12/11/17 issue of the New Yorker.

“Laura Weiner deftly explored the varied textures and sonic effects of the challenging French horn solo.”    

        -New York Times, March 20, 2013

“It was clear that every member of the orchestra...was committed to the performance. Laura Weiner not only played her French horn exquisitely, she did so without a score in front of her.”   

                -Seen and Heard International, March 23, 2013

“Laura Weiner’s horn cadenza was astounding by itself. The “Interstellar Call” movement was a thesaurus of horn sounds.”

            -ConcertoNet, March 19, 2013

“There was no messing with the magic, just a reduction in forces.  Horn player Laura Weiner showed particular skill, but each player played a part in the delightful storytelling.”

        -Albany Times Union, February 15, 2014