Alright – so today we’ve got the honor of introducing you to Felisitas Stella. We think you’ll enjoy our conversation, we’ve shared it below.
Felisitas, appreciate you joining us today. Are you happy as a creative professional? Do you sometimes wonder what it would be like to work for someone else?
I definitely ask myself this question pretty often, especially as someone at the beginning of her career and not really knowing where the next gig or connection will take me. I am at the point of my life where things are changing in spectacular, messy, and unpredictable ways (i guess this is what being in your 20s feels like). I am learning so much about myself, my music, and the people around me in ways that ive never done before. It might be kinda scary sometimes, but in a way this makes me feel more connected to my artistic side and the dream i sought to pursue all those years ago. It gives me so much motivation and passion to write, because there’s so much to write about! Definitely more than when i was 18 or 19. So even though things are unpredictable right now, i am learning how to embrace that and turn it into something beautiful that i can convey in my music. At the end of the day, I get to go home to my piano and an empty session and that’s all that matters to me. So yes, i am definitely happy as an artist at the moment.
As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?
I am a composer, music copyist, orchestrator and arranger for Film and TV. I strive to not have boundaries in my music, and always look towards new, meaningful ways to convey emotions. I’ve scored projects that go into topics like death and familial trauma and emphatize with such subjects very personally. My work leans toward orchestral compositions at the moment, but I’m always down to work with directors that pushes my boundaries and takes my music where it hasn’t been before. I am a huge indie horror fan, so i would love to work on movies like The Outwaters or The Wailing. Anything operatic and scary basically haha. Also, I had the great opportunity to work at Joann Kane Music Service and that gave me top-notch skills in music prep and insider knowledge of the commercial film industry.
We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?
There’s a right or wrong way to do music. F*ck things up! Write a song with the ‘wrong’ chords! Write a symphony using stuff from your kitchen! I used to really hold on to the (mostly westernized) notion that ‘right’ or ‘good’ music should sound a certain way. First Construction by John Cage was one of the first pieces of music that really challenged my perception of music, and I’m really glad it did! I also love radical interpretations of famous pieces, like Wendy Carlos’ Switched on Bach.
In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?
I think making space for conversations around discrimination and creating a framework of support is crucial as more BIPOC queer composers join the industry. For far too long, the film music industry has had a hush-hush policy when it comes to talking about discrimination. A part of this, I think, is that toxic culture of ‘if you complain you’re making excuses’ that too easily becomes a way to invalidate someone’s real struggles. If we want to create a more welcoming and creative environment for composers to thrive, we have to work together to get past this outdated mindset.
Contact Info:
- Website: http://www.felisitasstella.com
- Instagram: felisitasstella
- Linkedin: http://www.linkedin.com/in/felisitasstella
Image Credits
Owen Nathanael