September 12, 2016

“It sparkles, both literally and figuratively…Her melodies entice and speak of a modern, yet accessible flare…it holds its intensity with valor through its end.”

The Boston Musical Intelligencer

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September 12, 2016

“an enchanted exploration of the eternal mysteries….[Prestini's] atmospheric but tuneful music for “Gilgamesh” inhabited an indie-opera rainforest of its own…”

Boston Globe

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August 19, 2016

“A multidimensional paean to the ‘eye in the sky’, featuring a 3D virtual-reality experience incorporating Hubble images that allows viewers to drift through the Orion Nebula… a highly collaborative meld of science and art.”

Nature Magazine

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August 13, 2016

“It astounded me, this feeling of floating above Earth, and tears began to emerge from my cardboard goggles.”

The New Yorker

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August 10, 2016

“Prestini’s music…vividly shimmering and raging with the emotional temperatures of characters as suggested in Vavrek’s libretto, and generally conjuring up an authentically cosmic atmosphere with its trembling strings, ethereal wind lines, and luminous glockenspiel.”

Van Magazine

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August 10, 2016

” it was a thundering opus”

Hyperallergic

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August 8, 2016

“The performance itself was full of magic and wonder. Space, of course, is silent: there is no audible music of the spheres. But, Prestini has written some astonishing musical passages that capture a sense of what it might be like to be set adrift in a universe without the limitations of space or time.”

The Feast of Music

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August 8, 2016

“A brilliant collaboration. Prestini’s time spent perfecting 30-plus commissioned multidisciplinary works and serving as creative and executive director of Williamsburg’s National Sawdust have only further fortified her with the tact to balance all the voices, mixed media and technology that combine to make The Hubble Cantata such a spectacle…”

The Observer

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August 8, 2016

“Hubble Cantata saw audience members explore the Orion Nebula while a new piece of music played – the latest in a series of experiments between VR technology and classical music”

The Guardian

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August 5, 2016

“Ms. Prestini is known for pushing the boundaries of classical music, in part through collaborations — with poets, filmmakers and conservationists, among others.”

The Wall Street Journal

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August 4, 2016

“The Hubble Cantata’ Is a VR-Tinged Operatic Tour of Outer Space”

Village Voice

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July 28, 2016

“The Cosmos Sings in This Fusion of Astrophysics and Music The Hubble Cantata brings the stars down to earth”

Smithsonian Magazine

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May 23, 2016

“A soundtrack at its most pure, this live score imparted a more resonant sensation than just film or concert alone; the whole evening brought together both sight and sound at the height of their powers.”

MetLiveArts

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May 23, 2016

“But the music … ! The Colorado’s soundtrack positively radiates optimism.”

Q2 Music Album of the Week

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May 18, 2016

“Ms. Prestini’s choral piece for the section “A Padre, a Horse, a Telescope” sets Jesuit sources — including a Hail Mary in Cochimi, an extinct Native American language — to an ethereal blend of Mexican Baroque music and otherworldly ululations.”

The New York Times

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May 18, 2016

“the music — commissioned from five composers and performed by some of the most innovative soundsmiths around — is specifically tailored to the film’s passionate environmental advocacy and carries equal weight with the visual.”

The New York Times

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April 26, 2016

“Luminously involving music”

LA Times on The Hubble Cantata with the LA Philharmonic

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April 21, 2016

“the high point of the evening visually as well as musically”

Artillery Magazine about the Hubble Cantata with the LA Philharmonic

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March 03, 2016

“Imagination never grows old”

Minnesota Daily

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February 09, 2016

“Haunting power”

Wall Street Journal

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February 07, 2016

“Paola Prestini invited listeners into her sensually saturated dreams…soloists Tim Fain, violin, and Maya Beiser, cello, performed the two captivating concertos of Prestini’s ‘Labyrinth,’ surrounded by a phantasmagoria of visual projections.”

Boston Globe

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January 11, 2016

“Microsoft Fearless Leader Campaign”

Microsoft

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December 7, 2015

“The 7 Emerging Artists You Should Know About, According to National Sawdust Creative Director Paola Prestini”

Vanity Fair

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December 7, 2015

“Globally Acclaimed Composer Paola Prestini Is Turning National Sawdust into an Incubator for the Music World”

Vanity Fair

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December 3, 2015

“ETHEL Celebrates Women Composers”

I Care if You Listen

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September 9, 2015

“There’s nothing else quite like it in New York.”

New York Magazine

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September 7, 2015

“celebrated composer”

New York Times

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September 7, 2015

“For Prestini, organizing sounds and organizing people have never been entirely separate activities.”

New York Magazine

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May 18, 2015

“Paola is an Artistic visionary….there is a kind of energy system that follows her/her work wherever she goes.”

Philip Glass

May 15, 2015

“These “installation concertos” (the soloists perform with themselves through live electronic playback) are two voices of one woman: Prestini loves the interpretation of other artists onstage but needs no such panoply of effect to stop you in your tracks with her compositional genius. Dufallo and Beiser respond, as those “muses” of hers, with intensely giving, moody performances.”

Thought Catalog

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May 11, 2015

“Rhapsodic”

WQXR

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April 12, 2015

“an audio-visual extravaganza”

Nowness

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April 2, 2015

Here and Now on NPR

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February, 2015

“a seamless, transporting experience.” – About Oceanic Verses CD/DVD

I Care If You Listen

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December, 2014

Composer, visionary, and mentor Paola Prestini not only fills all of the aforementioned roles but is also founder of her own production company, VisionIntoArt (VIA), which provides opportunities to young composers as well as established performers in the new music world. Prestini also serves as the creative director of the soon-to-open Original Music Workshop (OMW) in Williamsburg, Brooklyn.

Bomb Magazine

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December 18, 2014

You can hear the singular beauty of Paola Prestini’s weave — and waves — in the newly released recording of her Oceanic Verses.

Thought Catalog

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December 15, 2014

Prestini’s style weaves folk melodies and field samples with massive choral sections reminiscent of some forgotten Renaissance Mass, all filtered through her own distinctive musical language… the overall effect is engaging and quite moving. The major themes of transformation, immigration and culturally complex, layered ethnicity seem to resonate both on a macro level in the age of globalization, as well as on a micro level in what Prestini calls the search for “internal geography.”

Q2, of WQXR on Oceanic Verses, Album of the Week

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November 10, 2014

Next is Listen, Quiet by Paola Prestini, an unexpectedly catchy track featuring Jason Treuting of So Percussion. It’s not so much music for solo cello as it is a fantastically quirky percussion piece with a cello narrator. An expert welder of elements, Prestini cuts in recordings of women’s voices in a way that’s vaguely reminiscent of The Books’ Lemon of Pink album.

Q2 Music

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October 1, 2014

Paola Prestini combines wild imagination and controlled practicality on an almost molecular level—it’s as if both are fused together in her DNA.

NewMusicBox

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June 4, 2014

The evening was kicked off by composer, mover and shaker Paola Prestini, a curator of the annual River to River festival and creative director of the Brooklyn-based Original Music Workshop.

New York Classical Review

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May 14, 2014

It’s been a busy season for composer Paola Prestini. She’s the founder of VisionIntoArt, the interdisciplinary arts company behind the annual 21c Liederabend festival, the Colorado Project at MASS MoCA and dozens of multimedia collaborations including Prestini’s own Oceanic Verses and music-theatre piece Aging Magician. She’s also creative designer for the Original Music Workshop – a new “artistic incubator” slated to open in Williamsburg, Brooklyn next year.

Q2 Music on WQXR

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Feb 9, 2014

Last week’s world premiere at Krannert Center for the Performing Arts of “Labryinth Installation Concertos: House of Solitude and Room No. 35″ went over really well. After it ended, I heard nothing but praise from the audience. The LED panels on her [Maya Beiser's] cello lit up with abstract, colorful images and responded to her movements and music — at one point the rays on the LED panels seemingly extended out on to the projection screen behind Beiser. The images on the projection screen of human eyes, cells, two embracing women nude from the waist up… and other visuals were dreamy and beautiful.

The News-Gazette

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Feb 2, 2014

Labyrinth installation dazzles, stuns… the innovative Labyrinth Installation Concertos premiered at the Krannert Center for the Performing Arts, taking viewers on a journey layered with tantalizing visual and audial stimuli.

The Daily Illini

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December 6, 2013

Prestini’s Distance to the Market, with libretto by Donna Di Novelli (commissioned by the Opera America Songbook last year to honor the National Opera Center’s new home), displayed the composer’s fluency in through composed song form. In a childhood memory, a boy (sung by the smoothly reliable baritone Christopher Burchett joined by the equally reliable pianist Stephen Gosling) watches his father carry a basket to market and anxiously awaits his return.

Musical America on Distance to the Market

November 29, 2013

The Music of the Hubble Space Telescope

The Atlantic

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November 29, 2013

“the music was ace.”

The Wall Street Journal

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November 25, 2013

“well wrought…upbeat and enthralling.”

NY Times

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November 15, 2013

“Hubble Cantata…a work of extraordinary beauty.”

Classical TV

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July 10, 2013

“Paola Prestini is probably best known as a composer, but her business card might more accurately read ‘human resources alchemist,’ such is her gift for bringing together disparate artists, technicians and other creative professionals to produce cross-disciplinary works greater than the sum of their parts.”

The New York Times

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June 26, 2013

“Mr. Lubovitch’s new “As Sleep Befell” made for a better match with Ms. Prestini’s music. At the center of a semicircle of string, wind and percussion players stood the vocalist Helga Davis, a kind of murmuring angel. Six shirtless male dancers were arrayed out in front of her on the ground, tossing and turning handsomely to Ms. Prestini’s atmospherics, as if in a shared dream…[it was] visually arresting.”

New York Times

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May 9, 2013

“soft, intoxicating, comforting, and wonderfully agrodolce…set with straightforward directness in the beginning, with the pain of sexual longing in the middle, and finally with exuberance… flexible in rhythm but staunchly wired to the text, each musical twist was welcomed for its unexpectedness and innovation”

OPERA•TURGY

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January 4, 2013

Kickstarter’s Best of 2012

Kickstarter 2012 Annual Report

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January 20, 2013

“Oceanic Verses” and “Aging Magician” are brilliant.”

Robert Wilson

January 12, 2013

“Spellbinding music…”

The Washington Post

January 9, 2013

“The composer-impresario continues to stoke interest…”

The New Yorker

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January 9, 2013

“The Aging Magician is grandly, even venerably, operatic…[from the composer] who wrote the acclaimed Oceanic Verses.”

WQXR.org

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July 23, 2012

“Paola has a keen nose for talent…”

Art Experience NYC

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June 26, 2012

“a sweeping social portrait of southern Italy.” …”the songs and choral settings are painted in the bright hues and varied rhythms of folk exotica.”…

“Their video counterparts in an artful… film.”

Allan Kozinn of the NY Times

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June 25, 2012

“Making Waves with New ‘Oceanic’ Opera”

The Wall Street Journal

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June 24, 2012

“Paola Prestini, and her creative team have high ambitions…[and] common sense about what works onstage: characters you can connect to, music that engages.”

“The layering of ideas and music knited together to present something that moves forward with the vitality of the original folk material.”

“Here’s an interesting idea: Two of the four characters, the Peasant and the Soldier, are opera singers (Christopher Burchett and Nancy Allen Lundy); they represent… the life of the past, and their love story turns out to be sweet, simple and touching. Their old-fashioned, trained sound is juxtaposed with that of a folk singer, the Sailor (Claudio Prima), and an improviser, the archaeologist (Helga Davis, who dug into her lower register as an archaeologist digs into the soil): the rougher voices of the present day.”

“a cohesive 80-minute package.”

“the applause, at the end, was long and loud”

Anne Midgette of Washington Post

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June 24, 2012

“Ms. Prestini – an inventive composer whose style mixes the ancient and the up-to-date, the folk inspired and the artfully polished”

Alan Kozinn of The New York Times

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June 20, 2012

“Critics’ Picks”

Time Out New York

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June 20, 2012

“an inquisitively progressive piece.”

“[baritone Chris Burchett's] depth and focus is quite beautiful.”

“This is, I think, what will make us want to see this again and again- we’ll take something completely new from it each time we see it.”

“Overall, I must and I will see this project in its entirety… it’s a gem.”

Opera Pulse

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June 6, 2012

“Stunning Multimedia opera”

Huffington Post

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May 18, 2012

“Opera in multiple media”

The Berkshire Eagle

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May 17, 2012

“The River to River Festival scores a substantial coup with the fully staged New York premiere of a multimedia opera composed by VisionIntoArt visionary-in-chief Paola Prestini, produced in conjunction with the intrepid Beth Morrison Projects.”

Time Out New York

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April 8, 2011

“forged an enigmatic détente…potent…soulful.”

New York Times

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January 20, 2011

“Músicos, compositores, escritores y cantantes narrarán dramas actuales mediante la &oacutepera”

La Jornada

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August 30, 2010

“Introducing Paola Prestini”

WQXR Spotlight

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June 5, 2010

“The VOX audience rose to their feet only once and that was for Oceanic Verses, an opera that pays tribute to Italian folk music across time and geography.”

Scene4

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April 5, 2010

“radiant…[and] amorously evocative.”

Steve Smith, New York Times

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January 13, 2008

“VisionIntoArt presents Traveling Songs and VioLens”

Flavorpill

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December 15, 2007

“Ear to Ear: Paola Prestini”

WNYC

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March 26, 2006

“The vision thing”

Nightafternight

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