Blair Foley was just 10 when, gripping her mother's hand, she approached famed composer Aaron Jay Kernis after a Minnesota Orchestra concert.
Earlier, the Pulitzer Prize winner had told the audience that he was passionate about helping those in the future of his profession flourish.
It was her mom who posed the question that was in Foley's mind: "My daughter is the future. What are you going to do for her?"
"Blair immediately struck me as having the tenacity and the drive that was necessary to develop a real committed life in music," said Kernis, who runs the orchestra's annual Composer Institute. "It was very impressive in someone so young."
At 24, Foley is still striving to impress. Last week, she presented a 50-minute chamber opera, "We're All Mad Here," in London at the prestigious experimental opera festival Tête à Tête.
"I'm very pleased with and proud of the performers," she said after last Thursday's premiere. "It's always amazing to see the difference between a rehearsal, where players are focused on the details of the music, and the performance, where they add so much emotion and charm to it."
The libretto by Foley, who did graduate work in literature as well as music, draws on nine novels with insane or eccentric main characters. Lewis Carroll's "Alice in Wonderland" was an obvious choice -- hence the title, straight from the Cheshire Cat's lips -- but others include "Bartleby, the Scrivener" by Herman Melville, "The Watchmen" by Alan Moore and a translation of Russian author Vladimir Nabokov's "Invitation to a Beheading."
The work was commissioned by the British company Size Zero Opera. The company's artistic director, Laura Bowler, praised Foley for her "ability to turn her concert music into theater. Very few young composers have a wide understanding of theater. Blair had the necessary understanding to create a highly dramatic and gripping piece of theater regardless of being a skilled composer."