In February, soprano Fotina Naumenko was nominated for a Grammy for her album “Bespoke Songs.”

The album was dedicated to showcasing contemporary vocal chamber music, featuring four world premiere recordings of newly-written musical works for soprano voice and mixed instrumental ensembles, with lyrics by female authors.

Naumenko is a singer who performs art song, oratorio, opera, choral, chamber, and new music, both as a soloist and ensemble singer. She has performed with such ensembles as Skylark, Conspirare, the Artefact Ensemble, the Experiential Chorus, Clarion, the Saint Tikhon Choir, PaTRAM, Cappella Romana, The Thirteen, Coro Volante, Alium Spiritum, and the Cincinnati Vocal Arts Ensemble, among many others.

In a recent interview with OperaWire, Naumenko spoke about her Grammy nomination and her album.

OperaWire: What is it like to be nominated for a Grammy? What can you tell us about your experience?

Fotina Naumenko: Being nominated for a Grammy is surreal, and such a huge honor! While I have been a member of the Recording Academy for a couple of years, this nomination spurred me to finally attend the Grammy event itself. It felt like a big celebration to be there, reconnect with friends and colleagues in the musical community, and to meet other fellow artists. The experience was filled with a lot of excitement and so many emotions for me. The biggest takeaway was how grateful I am for my various communities and support systems who showed me so much love throughout the journey of releasing this album and receiving this nomination!

OW: When you made the album, was that ever in your mind? Was it something you ever thought possible?

FN: While I am in the middle of the creative process, I try to avoid thinking about how my work will be received–it’s better to focus up, follow my instincts, trust, and try not to get in my head too much. I was happy with the end product that we put out into the world, and of course it was gratifying to find out that other people agreed! I had been a part of several Grammy-nominated and one Grammy-winning recording as an ensemble member, so these experiences taught me a lot about the process and helped me dare to dream and submit my solo album. It was extra special to have my solo work recognized in this way!

OW: How did the album come about?

FN: The idea for this project first arose in 2020, when the world was abruptly turned upside down by the COVID-19 pandemic. In the midst of the flurry of concert and recording cancellations, I found myself with a lot of time to think and ask: what kind of music do I want to create, once it is possible to do so again? During this time I could often be found recording single voice tracks in my closet or in front of a green screen in my living room, which were later spliced together with other artists’ single tracks to make digital concerts or recordings (performance organizations did what they had to do to keep the art alive!). This type of singing felt lonely, and I missed the collaboration and communication and connection that normally characterize the music-making experience. I knew that I wanted to make music with as many friends as possible, so the idea of a chamber music album with various groupings of instruments started to take shape. I also knew that I wanted to collaborate with composer colleagues to create new works, and use poetry by female authors as a theme throughout.

OW: What does it feel like to premiere new works? How did these works come to you?

FN: Premiering new works is amazing! It is really meaningful to be a part of bringing a new piece into the world and interpreting it for the first time. I commissioned composer colleagues whose music I have loved for many years to write pieces specifically for this chamber music album.

OW: What is it like to work with the composer of a new work? Were there any adjustments made for you and your voice?

FN: I love and respect the many centuries of compositions that we perform as classical singers, but I have to say that it’s my favorite thing to work with composers who are alive! It was fun to work with each composer on choosing texts that were meaningful to both of us, and then figuring out what combination of instruments would create the right sound world for the piece. My colleagues were very accommodating and made all sorts of adjustments for me–whether shifting the key of a movement, or adjusting a pitch when a particular word or vowel would sit more comfortably in a different part of my voice. I would send them voice memos of my range, both low and high, so that they could hear the different colors and decide what would be most expressive for the different moods throughout the pieces. It was a very collaborative process!

OW: Are you planning on touring this album?

FN: Each of the pieces on this album uses very different forces–there are thirteen separate instrumentalists that join the solo voice throughout the three song cycles and one extended song. There is also a whole lot of percussion required for the title track, Bespoke Songs, including a marimba and vibraphone! These forces don’t lend themselves easily to going on tour. However, never say never!

OW: What do you hope people take away from these works?

FN: Our world can be an ugly place, and I find a lot of comfort in creating beauty and meaning in my corner of the world through music. I think that is what drives me and energizes me. I hope that these works bring beauty into people’s lives!