Mark DeChiazza is a director and filmmaker exploring expressive and kinetic possibilities in the presentation of new music. The most recent of his ongoing series of collaborations with composer Steve Mackey, DeChiazza’s three-screen video installation for SOLI Chamber Ensemble commission Prelude to the End, premiered at the McNay Art Museum in San Antonio, Texas in May 2012. He also created staging and films for It Is Time, a Carnegie Hall commission for Mackey and SO Percussion; his video of the work was streamed as a First-Watch Feature on NPR Music and released as a DVD in September 2011 on Cantaloupe Music; he directed and also created video projections for Slide, composed by Mackey, and written and performed by Rinde Eckert with Grammy-winning new music ensemble eighth blackbird. In March 2012, at Princeton’s McCarter theater, he developed and directed two new chamber operas: Lear on the 2nd Floor, by Anthony Davis with libretto by Allan Havis, and Weakness, by Barbara White. His 2009 production of Pierrot Lunaire for eighth blackbird and soprano Lucy Shelton continues to tour, and was performed this April at the Kennedy Center. With Susan Marshall, DeChiazza composed site-specific performances for Asphalt Orchestra as part of Lincoln Center Out of Doors 2010 and for the Metropolitan Museum of Art. Subsequently, in collaboration with Andrew Robiinson, conceived and directed Unpack the Elephant, Asphalt’s touring theatrical show. Other directing credit’s include Philip Glass’s choral work Another Look at Harmony at the Park Avenue Armory, composer Barbara White’s staged concert Desire Lines, at Princeton University, and Joan Didion’s The Year of Magical Thinking at Playmaker’s Repertory Company. DeChiazza was a member of Susan Marshall & Company from 1993 to 2004.
The Princeton Atelier was endowed in 2009 through the generosity of a donor who has chosen to remain anonymous. The Atelier is additionally supported through The Newhouse Foundation, The Erik C. Blachford '89 Fund, The Schare-Pfaffenroth Endowment Fund, The Jordan Roth '97 Performance Fund and The Peter T. Joseph Foundation.