“Four performers improvised sound on assembled objects (…) with Elaine Mitchener dissolving into anxious glottal tics. She also created a memorable piece with Sam Belinfante, a couple throwing words at each other with the rainstorm hammering the roof celestially mirroring their plight.”
“Mitchener is a distinctive presence and interacts with her body and the remarkable sounds she produces: speech, soulful singing, breathless percussive bursts, skittering across octaves.”
“These were remarkable reinventions by two fearless originals, but they were devoted to illuminating the emotional cores of timeless old songs.”
“It might have been their debut performance as a quartet, but the wealth and depth of individual talent shone through. Hopefully we won’t have to wait “all of [our lives]” for another gig. Sublime stuff.”
“…Performing with a skilful Leon Michener on muted piano behind her, E.laine gave us a semi-improvised…performance where she moved seamlessly between voice styles such as avant-garde, torch song, jazz and even shards of pop. Quoting from ‘Bewitched, Bothered, and Bewildered’ amongst other things, the performance was intensely parodic, but also had something deeply felt to add to the satire. Hers is a stunning instrument, comfortable across her wide range in any dynamic and mode of articulation, with a stunning facility of control, and her set was one of the highlights…”
“…Mitchener’s presence had the touch of Abbey Lincoln’s vocalisations with Max Roach and this concert indicated a musical coming of age for her, having briefly guested with Grimes on Café Oto’s stage in 2011. Working both with texts and with improvised freedom in the spirit of Phil Minton’s exotic vocal flights, she kept Grimes and Few on their toes with tremulous, animalesque jitterings and a charged, expressive undercurrent – there was no chance of this being a heritage act!”
“Their performance was as stunning as it was fresh and further collaborations are, let’s hope, in the pipeline.”
“The steely self-possession of the words, the remorseless repetitions of both text and music, and the spell-binding intensity of the performers, above all reciter Elaine Mitchener, made for something both enthralling and moving.”
“(…) Rzewski’s Coming Together (1971) opened the concert, ignited by the flame of Elaine Mitchener’s voice as she hissed and crooned and preached the words of Sam Melville, who died in the 1971 Attica prison riot. Ferociously expressive in voice and body, alert to the irony and beauty and misery of the text, Mitchener drove a thrilling performance by Apartment House, the pounding piano ostinato unflagging.”
