An entrepreneur, communications expert and modern production pioneer, Amelia Lukas specializes in maximizing the impact of arts organizations and creating community which is more deeply connected to and engaged in the arts. Through enriched production experiences and stronger, more aligned communication channels, Amelia excels at helping clients identify and leverage resources to actualize organizational goals.
Having held key roles in both large-scale and grassroots organizations, Amelia brings a wealth of experience from diverse markets such as London, New York, San Francisco, and Boston. Amelia moved to Portland from Brooklyn, New York in 2014 and for three and a half years worked as Director of Community Engagement for All Classical Portland. In that role, Amelia produced exciting and successful events at the Arlene Schnitzer Concert Hall, Hollywood Theater, Alberta Rose Theater, Nordia House, aboard the Portland Spirit, and as part fo the Rose Festival, negotiating innovative partnerships with organizations such as TriMet, PGE, OMSI, the Rose Festival, LAIKA and Bob’s Red Mill. As part of the team that brought the station to number one in the country for audience growth amongst classical radio stations, she has a distinct awareness for the unique opportunities and challenges in the Portland community and beyond.
The Brooklyn-based multimedia concert series Ear Heart Music which Amelia founded in 2009 received widespread, international acclaim (see press below) and played a role in reshaping the chamber music landscape of New York City. Her speaking engagements include both the Chamber Music America and Dance USA conferences, as well as Philip Glass' MATA Festival and the Portland Piano International inaugural contemporary piano festival, The Clearing. For five years, Amelia worked as Promotions Manager for the major music publisher G. Schirmer and Music Sales Classical, managing the dance and chamber music catalogues along with a roster of nine composers which included luminaries such as Terry Riley, Bright Sheng, David Lang, Julia Wolfe, and Michael Gordon. She has served on the Board of Directors for The Walden School, Opera Cabal, and on the advisory board for High Concept Laboratories.
In addition to her work with Aligned Artistry, Amelia is a highly skilled professional flutist that performs with “a fine balance of virtuosity and poetry.” (New York Times) Lauded for her skilled interpretation of new music and “considerable technique” (New York Times), she is a member of Fear No Music and has performed recently with Chamber Music Northwest, the Willamette Valley Chamber Music Festival, the Eugene Symphony, the Astoria Music Festival Symphony Orchestra, Portland Piano International, and 45th Parallel. Past projects include performances at Carnegie’s Zankel and Weill Halls, The Stone, Bargemusic, (Le) Poisson Rouge, Roulette, Orford Sound Art Festival, and Lincoln Center. She holds degrees from the Manhattan School of Music and the Royal Academy of Music in London where she received three prizes for musical excellence. Her favorite quote is from the Pacifica Tribune which noted that, “even Mozart would have called that Lukas flute, ‘magic.’” Learn more at amelialukas.com.
Praise for Amelia’s productions
“Tuesday night at Roulette was the final event of the Ear Heart concert series, a consistently fine series of contemporary classical music, often with a dance or multimedia component. What would normally have been regrettable, though, turned out to be bracing and satisfying: an evening of music by Jason Eckardt and John Zorn that was an exemplary testament both to the programming of artistic director Amelia Lukas and the still vital strain of complexity and virtuosity in contemporary composition.”
- New York Classical Review, 5/20/2015
“If you haven’t heard of Ear Heart Music yet, you haven’t been living in New York. This monthly series continues to bring varied musical performances to the city’s ebullient and hungry multi-media landscape. Each evening touches upon different tastes or artistic interests, attracting familiar audience faces but always reaching yet another branch of the creative scene.”
- Seen and Heard International, 5/28/2014
“On Tuesday, April 22, Ear Heart Music, in partnership with American Modern Ensemble and American Opera Projects, added its name to the list of companies repaving the landscape for new opera in New York City.”
- Opera News, 4/22/14
“The New, in Context, for Ear, Heart and Brain… Wednesday evening’s program of new chamber cantatas by Jeremy Gill and Shulamit Ran, alongside instrumental works by Roussel, Messiaen and Daniel Catán, was both sonically seductive and thought-provoking as it explored the fluid border between the lyric and the dramatic.”
- The New York Times, 12/10/2013
“Ear Heart Music has arrived as a major cultural resource in the City, and we can only be grateful for their effort and imagination… The range and contrast of the program, balancing variety with a more extensive presentation of a single composer provided a solid base for satisfaction… Even though the lights were low and theatrical and I was sitting towards the back of the hall, I could feel an intimate rapport with the individual players, even in a large group. Again the audience was plentiful, knowledgeable, and keen, as far as I could see."
- New York Arts, 11/12/2013
“Embracing a landscape where cross-genre collaboration is not the exception or a special occasion but the rule and standard operating procedure, this contemporary chamber music series, organized by the flutist Amelia Lukas, keeps up its high ambitions with a season at Roulette full of new and recent compositions.”
- The New York Times, 9/7/2013
“The creative combination of musicians, composers, and dancers reflected a unique aspect of the New York new music scene… The results make a rich fabric, and generally attract a fuller and more extensive audience to embrace it, exuberantly.”
- Seen and Heard International, 3/30/2013
“Overall, this was another home run program for Ear Heart Music. Its focus on the visual arts provided a compelling narrative, without diluting or dumbing down the musical content. If anything, it gave the experience of listening to chamber music — so often a pedestrian, formal exercise — a fresh coat of paint.”
- Feast of Music, 1/26/2013
“There’s no missing the arrival of a new season this week: The Metropolitan Opera and the Chamber Music Society of Lincoln Center open Monday, and the New York Philharmonic hosts a gala Thursday. Not to be overlooked, though, is Ear Heart Music, a feisty contemporary-classical concert series organized by the flutist Amelia Lukas, which opens Wednesday at Roulette in Brooklyn. While in Manhattan, Ms. Lukas piloted impressive events on a shoestring budget. Roulette offers greater resources, and Ms. Lukas is taking advantage in an ambitious season filled with premieres and cross-disciplinary collaborations”
- The New York Times, 9/23/2012