Press

COLLABORATIVE

“…a stalwart contributor to the contemporary opera scene.”
Opera IthacaDouble Bill: Liberation / Enchantress

“…handled the very different and very challenging accompaniments masterfully.”
The Washington Post  –  Fierce Grace: Jeannette Rankin  –  Library of Congress

“Musical director Mila Henry keeps the boozy performances precise, clear, and on-pitch.”
New York Theater Now  –  SMASHED: The Carrie Nation Story  –  FringeNYC

“Music director Mila Henry showed that she shared this talent to adapt with supportive accompaniment at the piano from which she also conducted. […] rollicking piano work […] a fervent reading with Mila’s sensitive accompaniment […]”
SchmoperaHer KindThe Flea Theater

“The highlight of the concert, however, was Christopher Cerrone’s heart-breaking, deviously funny, and achingly hopeful “I Will Learn to Love a Person.”…Ms. Henry’s piano was sublime…”
Feast of Music  –  Stone Mason Projects  –  Wilmer Jennings Gallery

“…masterfully played the devilishly difficult score, creating a sound world, along with the occasional electronics, that heralded an orchestral score of incredible range and color.”
OperaPulse  –  La Reina  –  InsightALT Festival

“The accompaniment, handled marvelously by Mila Henry, is clear to have much jazz and pop influence and is successful in creating a whimsical nuance for the fantasy.”
OperaPulse    Love/Hate  –  OPERA America New Works Sampler

“With a simple formula of three superb vocalists bolstered by some very capable support at the piano, a careful mix of vocal tapestries melded together.”
ASCAP  –  AOP25: Celebrating Composers & the Voice  –  The Phoenix Concerts

“…pounded out some minor notes. […] The piano played a creeping, tense melody.
The New Yorker  –  “Stop, Frisk, Sing” (The Talk of the Town)  –  Two Sides Sounding

ENSEMBLE

“Four talented musicians […] played Mr. Marks’ adventurous and eclectic score with passionate perfection, conjuring an era of decadence and dominance.”
StageBuddy  –  Mata Hari  –  PROTOTYPE

“…a sophisticated score that melds chain gang, soul, funk, minimalism, blues, and a bit of traditional opera […] and produced a haunting tapestry of sound, which was played by a versatile band…”
DC Metro Theater Arts  –  We Shall Not Be Moved  –  Opera Philadelphia

“Although they were few in number, they presented Sankaram’s fascinating and repetitive fusion of Western and Indian music with ever increasing intensity.”
Opera Today  –  Thumbprint  –  LA Opera

RÉPÉTITEUR

“Both men sang with a heft and clear English diction that rendered the titles superfluous.”
The New York Times  –  In the Penal Colony  –  American Opera Projects & String Orchestra of Brooklyn