Meet the Director

ARTISTIC DIRECTOR
SARAH ROTHENBERG

Committed to creating new audiences for classical music and jazz, and a firm believer in the accessibility of great music of all genres, pianist Sarah Rothenberg is recognized internationally as a leader in innovative programming. Described as “a prolific and creative thinker” by The Wall Street Journal, Sarah Rothenberg has a unique career as concert pianist, writer, educator, producer and creator of interdisciplinary performances linking music to literature, visual art and ideas. In 2019, she celebrated her 25th anniversary as artistic director of DACAMERA. Prior to arriving at DACAMERA, Sarah Rothenberg was co-founder and Co-Artistic Director of the Bard Music Festival in New York.

A pianist of “heart, intellect and fabulous technical resources” (Fanfare) and “power and introspection” (The New York Times), she has performed at Kennedy Center (Washington, D.C.), Great Performers at Lincoln Center (New York), Barbican Centre (London), The Concertgebouw (Amsterdam), Palais des Beaux-Arts (Brussels), Gilmore Piano Festival, 92nd Street Y, Baryshnikov Arts Center, Library of Congress, Van Cliburn Foundation, The Getty Museum, Ojai Festival and concert series across the United States. Sarah Rothenberg ended last season with the world premiere of Vijay Iyer’s solo piano work, For My Father; and her 2022-23 season opened with nine performances in New York of director Peter Sellars’s staging of Tyshawn Sorey’s Monochromatic Light (Afterlife) at the Park Avenue Armory.

Original DACAMERA productions conceived, directed and performed by Sarah Rothenberg include A Proust Sonata, which received its New York premiere to critical acclaim in 2018; In the Garden of Dreams, a fin-de-siècle Vienna music, art, ideas; The Blue Rider: Kandinsky and Music, originally commissioned and produced by Works & Process at The Guggenheim and Columbia University’s Miller Theater; and Chopin in Paris: Epigraph for a Condemned Book (Yale Repertory Theatre, New Haven; University Musical Society, Ann Arbor; Krannert Center for the Performing Arts, Champaign-Urbana). Sarah Rothenberg’s Music and the Literary Imagination series, created for DACAMERA and inspired by the writings of Proust, Mann, Kafka, Baudelaire, and Akhmatova was presented by Great Performers at Lincoln Center for five consecutive seasons. Moondrunk, a staging of Schoenberg’s Pierrot lunaire, inaugurated Lincoln Center’s New Visions series in 1999. Her lectures and performances on art and music include The Guggenheim Museum, The Jewish Museum (New York), Museum of Fine Arts Houston and The Menil Collection. She appeared as soloist in over 75 performances of choreographer/director Martha Clarke’s Cheri at New York’s off-Broadway Signature Theatre, Ravenna Festival, Kennedy Center and London’s Royal Opera House.

Sarah Rothenberg’s scholarly research has resulted in her U.S. premiere performances and recordings of Fanny Mendelssohn’s Das Jahr  (Independent Record Companies Award for Best Solo Classical Recording 1996); Rediscovering the Russian Avant-Garde: Lourié, Mosolov and Roslavetz (GM); and Shadows and Fragments: Piano Works of Brahms and Schoenberg. Additional acclaimed recordings include Messiaen Visions de l’Amen (with Marilyn Nonken), and DACAMERA’s Rothko Chapel: Satie, Cage and Feldman on ECM, as well as works of Wuorinen, Carter, Perle, Picker, Ran, Tower and Tsontakis, in collaboration with the composers. She has performed over 80 world premieres and was a member of the New York contemporary music ensemble, Da Capo Chamber Players.

Sarah Rothenberg’s writings appear in literary, art and musical publications, including The Musical Quarterly, Brick, Nexus, TriQuarterly, Conjunctions, The Threepenny Review, PN Review (UK), Perspectives in New Music; and the books The Crisis of Criticism (ed. Berger/New Press); Rackstraw Downes: Onsite Paintings (London/Parrish Art Museum 2010); Cy Twombly: Treatise on the Veil (White/Menil Collection) and the Moody Center’s recent Artists and the Rothko Chapel.

Sarah Rothenberg’s early training was at The Juilliard School with Herbert Stessin. After graduating from The Curtis Institute of Music, where her teachers were Seymour Lipkin and Mieczeslaw Horszowski, she studied the music of Olivier Messiaen in Paris with the composer’s wife, Yvonne Loriod. In 2000 she was awarded the Medal of Chevalier dans l’Ordre des Arts et des Lettres from the French government.