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Ellen Reid

Los Angeles, CA   

Ellen Reid is a composer and sound artist whose work “brims with canny invention” (LA Weekly). Reid’s work is largely collaborative and takes the form of opera, chamber music, electronic pop songs, scores for film and theater, and immersive interactive media. Reid’s work has been hailed as “ineffably moving” by Mark Swed of The LA Times, “radiant” by Alex Ross of the New Yorker, and it’s been said that her vocal writing would “make you believe that the mythical sirens really existed” (KCRW). Upcoming projects include a 40-minute commission for the Los Angeles Master Chorale, an orchestral work for Los Angeles Chamber Orchestra, Prism produced by Beth Morrison Projects at LA Opera, and a solo cello piece for Johannes Moser at Munich Opera. Her piece for Los Angeles Percussion Quartet was included on the LA Phil’s Noon to Midnight, and her music in Buster’s Mal Heart-starring Rami Malekwas heard at the Toronto International Film Festival. Ellen Reid and Missy Mazzoli co-founded Luna Lab, a mentorship program for young self-identified female composers. She was listed as one of Musical America’s 30 Professionals of the Year 2016 for her work with Luna Lab. Ellen received her BFA from Columbia University and her MA from California Institute of the Arts. She splits her time between her two favorite cities – Los Angeles and New York.

Winter’s Child – Excerpt

WINTER’S CHILD, a new opera by composer Ellen Reid and librettist Amanda Jane Shank, explores a Southern gothic horror story. Excerpted at the Hammer Museum, Los Angeles, June 1, 2013, as part of The Industry’s First Take

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Orlando and Tiresias on an Unmarked Plane

Orlando and Tiresias was released on the Bedroom Community Label in 2015.
The setting here is stark—an empty, windswept plane—the sort of set that Waiting for Godot is often staged on: we’re far out between towns, deep within some countryside, where two people are unlikely to encounter each other. Tiresias, the Blind Prophet of Thebes, is on a walk, and along comes Orlando, the title character from Virginia Woolf’s novel. Tiresias assumes that Orlando will ask him for advice, and so speaks first. – Mandy Kahn

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HOPSCOTCH – Chapter 11

Imagine getting in a car without knowing the destination. Sharing the car are singers, actors, and instrumentalists who draw you into a story. The car stops at an incredible site, where another chapter of the story commences – until another car pulls up, with different artists, depicting another chapter of the story. And so on, and so on, in a 90-minute journey throughout the unsuspecting city.
In this excerpt from HOPSCOTCH, the love story is peaking. A children’s chorus accompanies Lucha and Jameson on a romantic and mystical journey.

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