Press

Wysing Polyphonic review – who needs amps, when you’ve got vulture bones?

Ben Beaumont-Thomas

“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.”

What’s wrong with the classical concert experience in the 21st century?

Philip Clark

“Mitchener’s piece forces our idea of what a musical experience can be to shift through the breadth of her interests. Boundaries crumble because they have no choice.”

Sonia Boyce: We Move In Her Way, review: A curious power play at work

Ben Luke

“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.”

John Fordham

“These were remarkable reinventions by two fearless originals, but they were devoted to illuminating the emotional cores of timeless old songs.”

Alexander Hawkins / Elaine Mitchener Quartet

Rob Harford

“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.”

Vocal Crossings

An Evening of Experimental Music from the Sub Rosa label

Stephen Graham

“…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…”

Henry Grimes, Bobby Few, Mark Sanders, Elaine Mitchener at Café Oto, 26 April 2013

Geoff Winston

“…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!”

 

Cheltenham Jazz Festival, Cheltenham, UK — review

Mike Hobart

“Their performance was as stunning as it was fresh and further collaborations are, let’s hope, in the pipeline.”

Artist’s Statement: Classically-trained vocal artist Elaine Mitchener on privacy and intimacy

Ben Miller

“My work is constantly evolving as I develop ideas and work with different artists, being challenged along the way. I approach each project with the excitement of something new and rewarding and, even if it doesn’t work, that’s okay because that’s an object lesson in itself.”