| Press Comments on Hildegurls Electric
Ordo Virtutum |
| A co-production of American Opera Projects and the Lincoln
Center Festival |
| |
| "In the past ten years, though, thanks to feminist currents in musicology
(and analogous ones in the history of science), Hildegard has turned into
the composer of the decade... The Hildegurls are determined to bring out
all the operatic passion behind Hildegard's words." |
| -Kyle Gann, The Village Voice, 7/28/98 |
| |
| "The result is a collective recomposition that explodes Hildegard's
reverent chants into a dense, playful orgy of counterpoint, rock rhythms,
incantory drones and electronic noise." |
| -Justin Davidson, Newsday, 7/5/98 |
| |
| "Where the Sequentia production was stiff and pretentious, the Hildegurls
were fluid and direct... These were Virtues who knew about Hell...
Under the direction of Grethe Barrett Holby, they came up with some
striking stage images. In the first scene, Lisa Bielawa as the straying
Soul was tied standing to the floor, then Kitty Brazelton sat down in a
corner to play a scarlet recorder... Strong, fresh and unabashed staging..." |
| -Paul Griffiths, The New York Times, 7/24/98 |
| |
| "The mystical abbess Hildegard von Bingen may have know more about
female power back in the 12th century than we do today." |
| -Heidi Waleson, The Wall Street Journal, 7/30/98 |
| |
| "The Hildegurls supplemented Hildegard's text and monophonic vocal
lines with instrumental accompaniment and a costumed theatrical staging
(directed by Grethe Barrett Holby). But rather than simple drones and a
pageant-like presentation, the Hildegurls draw on an extravagant palette
of electronic sonorities and presented their piece almost as a rock spectacle." |
| -Joseph Hannan, The Early Drama, Art, and Music Review, Fall 1998 |
| |
| "Among the performers are some of our finest musical minds around...
these "gurls" are into authenticity as much as anything else --
and the few departures from the Medieval morality play basically did not
tamper with the fundamental presentation of a Medieval work; an important
reenactment of an historical composition." |
| -Joseph Pehrson, The New Music Connoisseur, Fall-Winter '98 |
| |
| "The Hildegurls weave musical commentary around the Devil's lines....
When he appears during the Beglarian section, he is accompanied by
synthesized rattlesnake rattles (a reference to the soul being poisoned
by the Devil), and a breathy, subtly sexual sound." |
| -Bernard Sherman, The Los Angeles Times, 8/9/98 |
| |
| "Listeners may not hear those vocal lines as voices, since Brazelton
has transformed some of them into drones, airplane roars and other noises.
For the introductory act, Bielawa sampled herself singing the music of French
composer Francois Couperin, extracting from a recital tape some of the same
Latin verbs employed by Hildegard...Bielawa responded to the parable of
an artistic soul striving to make sense out of a confusing world..." |
| -Matthew Mirapaul, arts@large online magazine, 7/27/98 |
| |
| "Occasionally the Hildegurls went in for raw tone or close harmony,
and the whole final scene, where Elaine Kaplinsky was in charge, had a quasi-rock
sound." |
| -Paul Griffiths, The New York Times, 7/24/98 |
| |
| "These were no singing nuns." |
| -Matthew Mirapaul, arts@large online magazine, 7/27/98 |
| Press Comments on Faust |
| for The Opera Company of Philadelphia (New
production conceived and directed by Grethe Barrett Holby) (video available) |
| |
| "Opera Company of Philadelphia dazzles with bold, probing 'Faust'
...a "Faust" stripped of all the old cliches ...uncommon music
theater. Grethe Holby (has) created a timeless production, tinged with darkness
and menace... the essence of the legend emerges with unusual clarity and
theatrical impact. ...Holby's powerful staging charts every emotional turn
in the story. This director - how rare for a operatic director! - lets the
rhythm of the music determine the flow of the action. With the bare minimum
of movement, Holby charts the progress of the drama. She clarifies the personal
relationships and sets every dramatic incident in bold relief. And she moves
the chorus with the masterful hand of a great choreographer." |
| -Courier-Post |
| |
| "Opera Company's 'Faust' A Tremendous Triumph Grethe Holby's stage
direction was imaginative (and) evocative." |
| -Main Line Times |
| |
| "This is way to do 'Faust' This was a "Faust" with a difference.
...one of the best performances of the piece I've encountered over the years.
...if you're going to do "Faust," this is the way to do it...
Provocative, yes, dull, no." |
| -Bucks County Courier Times |
| Press Comments on Carousel |
| for the Lake George Opera Festival (New production conceived,
directed, designed and choreographed by Holby) |
| |
| " 'CAROUSEL' caps Opera's fine season ... with a tender and sweeping
production of ... 'Carousel'. Bring everyone you know." |
| -The Chronicle, (Glens Falls, N.Y. ) |
| |
| " 'CAROUSEL' cleverly staged and enjoyable. An excellent production...
genius... an artistic masterpiece. The opening prelude was beautifully staged
and executed ... and the dance sequences were first rate." |
| -Post-Star, (Glens Falls, NY) |
| Press Comments on The Sibyl |
| for The Pennsylvania Opera Theater (Premiere production
conceived and directed by Holby) |
| |
| "As to the performance itself, it was one of my favorites in opera
-- everything worked together. The entire production was a unity. Grethe
Holby, the director -- another congratulatory message for a super job." |
| -WNRK, Newark, DE "The Arts" |
| |
| "...fine work by an excellent cast under Grethe Holby's creative
direction... " |
| -Jewish Exponent, Notes on Music |
| |
| "a thrilling combination of music and theater." |
| -News of Delaware County |
| |
| "Holby fills the stage with vivid movement and draws appealing performances
from her cast." |
| -Courier-Post |
| |
| "... an excellent production." |
| -Bucks County Courier Times |
