I Care if You Listen: “Playfully Serious” Music: The Furies and ~Nois Take Scholes Street Studio

January 28, 2020

The Furies is an LA-based firecracker of a violin duo made up of Kate Outterbridge and Maiani da Silva, joined and propelled by a desire for gender equity in programming. Their all-female composer program at Scholes transcended any notion of re-balancing the scales: a daring, cutting, and vulnerable performance probed deep questions about human nature, both directly and abstractly.

LA Times Review: Three minutes of ‘Marriage of Figaro,’ repeated for 12 hours straight

May 28, 2019

"The Los Angeles Philharmonic, which presented “Bliss” as the most extravagant part of its season-long Fluxus festival, partnering with the Getty and, here, REDCAT, might require a little forgiveness itself. Christopher Rountree, whose idea this performance was, conducted indefatigably. The orchestra was his band, wild Up. Ten singers, several from the talented local pool of new music specialists, were amazing." 

"The Summa Trio, another name new to me, catch the music’s energy and evocative qualities very nicely in naturally balanced sound. Recommended." - Guy Rickards

Interview: Meet The Furies Ahead of Their Show!

December 18, 2018

On Thursday, December 20, contemporary violin duo The Furies, along with their friends Joanna Lynn-Jacobs, Rhea Fowler, Theodosia Roussos, Grecia Serrano-Navarro, and Jordan Curcurturo, present A Cure For Hysteria at Art Share. A Cure for Hysteria is a performance piece that explores the history and relevance of the gendered word ‘hysteria’—its social connotations and consequences—through the lens of contemporary music. This fits right in with The Furies’ mission to bring intersectional feminism into the concert hall through immersive performance experiences that challenge their audience and community, encourage audience members to demand more diverse programming from their musical institutions, and to learn more about the histories of women in a white male dominated canon. We caught up with violinists Maiani da Silva and Kate Outterbridge to talk about their new project.

L.A. Times Review: Taylor Mac's 'Holiday Sauce,' a madcap brew of Christmas spirit, extra spicy

December 16, 2018

"The orchestra, under the music direction of pianist Matthew Dean Marsh, added a cohering elegance to this delightful grab-bag of a show. Mac might be considered a heathen freak in certain quarters, but “Holiday Sauce” was imbued with such freewheeling love and generosity that it tapped into the true spirit of the season."

Bay Area Plays: ‘Taylor Mac’s Holiday Sauce’ at the Curran is delicious

November 29, 2018

Judy’s control showcases a vocal extraordinaire, a musician of the highest order. Led by music director Matt Ray and his versatility on the ivories, the tight band with so much varied texture made for a show which marries showmanship, musicianship and spectacle which were wholly harmonious. Tunes like the Rolling Stones’ classic “You Can’t Always Get What You Want,” and other more traditional ditties such as “The Little Drummer Boy,” or “O Holy Night” just shred as the nine-piece band brings the power.

When Don Giovanni is the "Don"

April 17, 2018

Thank you, P.O.P, for inviting me as concertmaster for this great orchestra. "Ryan Murray conducts a solid chorus and a twenty-piece orchestra - yes, twenty pieces - who are as stellar as anything you will hear two miles west of here at the Dorothy Chandler Pavilion." 

P.O.P's "Don Giovanni" will seduce you.

April 18, 2018

"Even though the ensemble was tucked in an adjacent niche space they managed to produce a strong sound that was full, rich and loaded with detail." 

Variety Review: ‘Phantom Thread’ Orchestral Show Lusciously Reveals Jonny Greenwood’s (and P.T. Anderson’s) Sweet Side

Live-score concerts are increasingly common, of course, but one way this one differed was in how unimportant it was to have the film on screen to accompany the music. There were few cues that directly tied to a “beat” on screen, and it’s clear Anderson edits his scenes mostly to fit Greenwood’s music, or at least the beginnings and endings of his compositions. The sellout factor might not be as quick without the film on screen as a drawing factor, but the music stands apart enough that it’d be a treat to get a reprise of this particular show with nothing to look at besides 34 people dressed in black… And, okay, maybe Krieps modeling one of the film’s costumes, as a value-added bonus.

L.A. Times: "I survived 24 hours of Taylor Mac: a necessary 246-song attack on the heteronormative narrative"

March 26, 2018

Review: Noon to Midnight, L.A. Phil delivers new music (and free ice cream)

November 20, 2017

"Wild Up itself has grown from its origins as a group of feisty students and recent grads to a first-rate ensemble with a distinctive L.A. personality."

State of the Art

August 08, 2017

A reviewer's thoughts on Bang On A Can Festival's final week concerts. 

Avery*Sunshine on New Album 'Twenty Sixty Four,' Marriage and Divine Intervention

April 21, 2017

N.Y. Times: Taylor Mac Wins Kennedy Prize for Drama Inspired by American History

February 22, 2017

Congratulations to Taylor Mac and Matt Ray for this well-deserved Kennedy Prize win!


I played a tiny role in this show, but I played a role nonetheless, and for that I am grateful! The opportunity to work with Taylor and Matt, as well as many incredible artists and people, changed me. This experience will forever live in my heart. 

Taylor Mac's 24 Decade History of Popular Music was selected in the NY Times as one of the best theatre productions of 2016! 

LATINHEAT Review: Carlos Rodgarman's Album Release Party performance review

November 17, 2016

I enjoyed so much being a part of Carlos' Rodgarband! Congratulations, Carlos!

"Rodgarman assembled an impressive collection of international musicians (comprising of a 28-piece band), singers, and dancers for a show with electrifying talent that heralded praise from attendees whose diversity reflected Rodgarman’s ability to resonate and bring together a wide array of individuals." 

"Mr. Mac gave me one of the great experiences of my life. I’ve slept on it, and I’m sure. It wasn’t simply the physical feat. Although, come on: 246 songs spanning 240 years for 24 straight hours, including small breaks for him to eat, hydrate and use the loo, and starting in 1776 with a great-big band and ending with Mr. Mac, alone in 2016, doing original songs on piano and ukulele. He remembered all the lyrics and most of Walt Whitman’s “Song of Myself.” And he sang them — in every imaginable style, at every tempo, with every possible facial expression and every register of his handsome, protean voice." 

I joined this great chorus for their debut concert in Los Angeles. 

"Music director Matt Ray drew out the best in Mac and the superb orchestra." 

"Immediately apparent was the sublimity of the backing band – Matt Ray (piano), David Piltch (acoustic bass), Robert Perkins (drums), Maiani da Silva (violin), and Isaiah Gage (cello). Ray, the music director, smoothly led the troupe through paces that fused virtuosity and nuance, deftly navigating uptempo tracks, like an especially swinging “Them There Eyes,” and somber musical landscapes." 

Rose Cousins finds an extended musical family in Boston

February 24, 2012

"When a string quintet builds to a majestic swell, it’s almost too painful to bear."

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@2015 by Maiani da Silva

.A., Los Angeles, West L.A., violinist, violin, music, teacher, private lessons, adult student, musician, instrumental, string instrument