[photo by Maria Baranova]
New York Times
"Also confident, in a very different register, was Garrett Fisher’s score for 'Blood Moon,' at the Baruch Performing Arts Center. Mr. Fisher ingeniously transfigured the sound world of classical Japanese Noh drama, with a harmonium making a gently coppery wheeze and the willowy viola da gamba trading off with its more powerful descendant, the cello. Modern metal flutes coexisted with the antique sound of a bamboo flute; traditional taiko drums crashed as punctuation on the action."
“An alluring sound world” -Wall Street Journal
Opera Wire
“An impressive sensory and intellectual feast”
“Riveting, poetic opera theater”
“Ellen McLaughlin’s libretto [is] pure meditative poetry”
“Philosophically beguiling”
“Emotionally gripping”
Broadway World
“Hypnotic and magical” -Broadway World
Exeunt
“Part fairy tale, part ghost story, part meditation on mortality and the sublime.”
“Sumptuous, often achingly beautiful.”
“Hauntingly beautiful”
Parterre.com
“Fischer’s score [is] a triumph, combining western and eastern instruments to stunning effect”
“A balance between tuneful tonality and dissonance”
Pup’s Books
“A visually stunning manifestation of an otherworldly event”
“Innovative and complex”
ConcertoNet
“The music [has] its own originality which [can] never be pigeonholed.”
“a whole new universe in which to delve.”
Berkshire Fine Arts
“An enormously skillful and daring composer”
“a highly satisfying evening of opera”
Indie Opera Podcast
“You are left wanting more”
“You’ll get sucked into the drama and will leave wanting more.”
“A great example of what can happen when two distinct musical traditions meet and combine”
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