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“…a stalwart contributor to the contemporary opera scene."
Opera Ithaca – Liberation / The Infinite Energy of Ada Lovelace
"...Mila Henry’s music directing and piano playing were eloquently direct."
National Sawdust Log – Swell – HERE Sublet Series
“Music director Mila Henry showed that she shared this talent to adapt with supportive accompaniment at the piano from which she also conducted.”
Schmopera – Her Kind – The Flea Theater
“Musical director Mila Henry keeps the boozy performances precise, clear, and on-pitch.”
New York Theater Now – SMASHED: The Carrie Nation Story – FringeNYC
"...but it was the orchestra directed by Mila Henry that might have been the star of the show. [...] The orchestra opened up each act on its own and stayed underneath the singing volume throughout the show so as not to draw too much attention as the musical numbers played."
"Orchestra Stands Out In Support Of 'The Merry Widow' Singers" from The Enterprise – College Light Opera Company
“There was a nice tension between cohesion — everyone was composing for string quartet and harp, conducted by Mila Henry — and variety, with some numbers spare, some lush, some poppily alert, some sincerely mild.”
The New York Times – Magdalene – PROTOTYPE
"A string quartet and harp, conducted by Mila Henry, provided atmospheric accompaniment."
The Wall Street Journal – Magdalene – PROTOTYPE
"Through it all, the atmospheric score paced precisely by conductor Mila Henry contextualizes M.’s journey and gives her another language to master and wield."
I Care If You Listen – Magdalene – PROTOTYPE
"The Desdemona Ensemble, comprised of five women, under the musical direction of Mila Henry, was fantastic throughout, adding great depth to the journey as it unfolded."
OperaWire – Magdalene – PROTOTYPE
"...the gorgeous music still prevails (produced by Mila Henry’s fine small orchestra, complete with harp and theorbo)."
Ithaca.com – Liberation / The Infinite Energy of Ada Lovelace – Opera Ithaca
“A rehearsal pianist swept through Shorter’s fast-moving, venturesome harmonies, holding the place of the orchestra..."
The New York Times – Iphigenia – Real Magic and Octopus Theatricals
“Pianist Mila Henry handled the very different and very challenging accompaniments masterfully.”
The Washington Post – Fierce Grace: Jeannette Rankin – Library of Congress
"...terrific pianist Mila Henry..."
Opera News – Voices of Women: From Unknown to Renowned – Affetto Records
“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
“Pianist Mila Henry 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
“…rollicking piano work […] a fervent reading with Mila’s sensitive accompaniment…”
Schmopera – Her Kind – The Flea Theater
PIANIST IN AN ENSEMBLE
“…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
"Mila Henry is a true 'Jill-of-all-trades' when it comes to musical instruments, playing the piano, mini-accordion, autoharp, bells, ukulele, slide whistle, and melodica. It was a treat to hear her sing a solo in the Cowgirl’s introductory song “Pearlsnaps and Pearls” in addition to her wonderful melodies."
Sullivan County Democrat – Opera Cowgirls – Delaware Valley Opera
"Her [Kamala Sankaram] original score, played by a diversely talented ensemble of keyboardist Mila Henry with saxophonists Jeff Hudgins, Ed RosenBerg, and Josh Sinton, is fantastic..."
New York Music Daily – Looking at You – HERE
“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
“Four talented musicians […] violinist Helen Yee, pianist Mila Henry, electric guitarist James Moore and Kamala Sankaram on accordion, played Mr. Marks’ adventurous and eclectic score with passionate perfection, conjuring an era of decadence and dominance.”
StageBuddy – Mata Hari – PROTOTYPE