The Spirit of Wagner Award

Carrying the Flame

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Multimedia Music

This table doesn’t explain the work. It echoes it.

Welcome to Georgia Shreve’s cinematic sanctuary — where dialogue is framed, light is implied, and every story breathes in scene.

BACK TO MUSIC ROOM

Multimedia Music

This table doesn’t explain the work. It echoes it.

Welcome to Georgia Shreve’s cinematic sanctuary — where dialogue is framed, light is implied, and every story breathes in scene.

A copy of The Little Prince — tender, philosophical, and full of space — recalls Georgia’s musical setting of Saint-Exupéry’s quiet epic. Beside it: Don Quixote, upright and unflinching, speaks to her fascination with noble delusion. Alice in Wonderland, resting nearby, opens into a world of distortion and layered voice — a visual mirror for Georgia’s musical interplay of language and self.

A recording of Dante’s Paradiso lies near the base, a shimmering reminder that Georgia has not only read Dante — she has scored him. The sheet music open beside it is not abstract. It’s performance-ready. A conductor’s baton points toward Carnegie Hall, Georgia’s artistic home — a venue where most dream of a single performance. Georgia’s music has lived there, more than once.

And finally: The Man with the Blue Guitar — Picasso reimagined by Hockney, annotated in his own hand. This poster, worn at the corners, says everything. Georgia, like Hockney, believes in reinvention. In dialogue with the past. In the layered reinterpretation of art as its own continuing form. Her multimedia compositions are rigorous, emotional, visual, and live.

They are not crossover. They are cross-discipline.
And they don’t suggest. They reveal.

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Interdisciplinary compositions for orchestra, voice, literature, and visual media

Premiered  At

Mediums

Music

Language

Projection

Art

Narrative

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Multimedia Music

by Georgia

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Multimedia Music
Four Seasons
In "Four Seasons" (2018), Georgia Shreve pairs her Piano Concerto with Halstead Wells’s time-lapse film of Manhattan terraces, transforming New York’s changing weather into a synchronized orchestral-visual journey. Premiered at Zankel Hall, Carnegie Hall, the work offers a lyrical study of urban beauty, temporal flux, and hard-won optimism.
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Multimedia Music
Dante’s Paradise
In Dante’s "Paradise", Georgia Shreve shapes Dante’s ascent into a 25-minute concert journey for narrator, voices, and chamber orchestra, where revelation arrives through shifting light, unstable perception, and musical momentum. Lyrical, philosophical, and theatrically charged, the work transforms "Paradiso" into a contemporary experience of wonder and reckoning.
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Explore more works by Georgia

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Short Stories
The Countess of M—
In nineteenth-century France, a sheltered aristocratic daughter enters a secret romance with a fallen nobleman, discovering both the thrill of being chosen and the cost of defying the social order around her.
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Plays
The Odds
A darkly funny three-scene play about two sisters who grow up treating family dysfunction like a math problem. Ten years later, memory returns with teeth, and “the odds” becomes the name for what was hidden in plain sight.
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Short Stories
The Enigma Variations
In “The Enigma Variations,” a daughter chronicles her composer mother’s brilliance and unraveling as harassment, domestic pressure, and illness sever her from the piano that defines her life. Expansive, intimate, and devastating, the story is both elegy and indictment, revealing how a creative life can be erased long before death.
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Poetry
Mother in the Snow
In “Mother in the Snow,” Georgia Shreve turns a winter stumble into a piercing portrait of maternal endurance under watchful eyes. Dark humor and raw imagery reveal a woman improvising her way forward while trying to hold dignity, and herself, together.
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Poetry
No Pity for Pigeons
In “No Pity for Pigeons,” Georgia Shreve transforms a quiet park encounter into a piercing social portrait of class, displacement, and human vulnerability. What begins with birds and cake ends with a deeper grief: not for pigeons, but for people quietly pushed to the margins of the worlds they once called ordinary.
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Poetry
You, we, I
In “You, We, I,” Shreve turns pronouns into emotional architecture, mapping how intimacy moves between fusion and fracture. With spare, incantatory lines, the poem captures two people reaching for truth through glare, innocence, and uncertainty, before landing on a haunting final shift from “we” back to “I.”
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Poetry
New Life
In “New Life,” Shreve imagines reinvention as metalwork: each day newly minted, each love a chance to re-stamp the self. Through images of repaired bridges, open doors, and an untouched bed, the poem captures the vulnerable mechanics of beginning again without denying what came before.
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Poetry
Is There a Poem in the House?
In “Is There a Poem in the House?”, Shreve turns inspiration into a haunting presence that seeps through walls, books, and breath before vanishing again. By merging domestic imagery with artistic dread, the poem captures the fragile cycle of creative arrival and loss with wit, unease, and precision.
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