PRESS
|
"eloquently scripted" and "emotionally wracking"
- The New York Times "terrifyingly dark"
- The Wall Street Journal |
|
"politically fearless... the most harrowing moments on stage at any New York performance"
- New York Music Daily "impassioned... responsible for the evening’s most powerful offering"
- The Guardian "Intensely moving, boldly beautiful, this could be the future of a new kind of documentary that’s told primarily through music. Ken Burns, look out — Mary Kouyoumdjian has something to show you."
- Santa Barbara Independent |
|
"haunting"
- The Los Angeles Times "eerie"
- IndieWire "an auditory assault... crossed the line into numbing terror" - San Francisco Classical Voice "Kouyoumdjian’s voice is all her own, with a surface gentleness that disguises an iron fist of craft and feeling."
- New York Classical Review "deeply-felt.. powerful... dives beneath surface musicality to find humanity."
- I Care if You Listen "the high point.. an entire emotional substratum that is constantly churning."
- San Francisco Chronicle She makes us sense precisely these themes of longing and coping through art. What’s more, she does this without sentimental manipulation or a false glaze promising aesthetic redemption... What’s especially innovative here is the sense of emotional pulse Kouyoumdjian establishes: never linear or straightforward but always in motion, acting and reacting. - Memetaria "What attracted me to Mary Kouyoumdjian's music was the sound pallette, the personal aspect, and I think it was a sense of her desire to bring her life and her family's experience into music. For me, Bombs of Beirut is one of the really amazing pieces that's ever been written for Kronos."
- David Harrington of the Kronos Quartet |
