press + kudos
“Astringently captivating…”The New York Times
“The singers could have been excerpts from a dream.”San Francisco Classical Voice
“Constellation Chor…made an indelible impression on anyone who saw its visceral, committed work in the New York Philharmonic’s premiere of Ashley Fure’s ‘Filament,’ last season, or who witnessed the group collaborating with the flutist Claire Chase, at The Kitchen, earlier this year.” The New Yorker
“Their performances are like and LSD trip!” – Dave Malloy (Writer of Broadway’s The Great Comet)
“The Constellation Chor, an incredibly internationally and vocally diverse array of talent, hailing from Greece, Portugal, Hungary, Austrai and the US, seen on stages from New York to Dubai and BAM to Broadway, [are] “radiant.” Their sonic expressions, from ethereal sounds to primal screams, animalistic wails and simply breath, are more aligned with vocal innovators like Kate Bush, Bjork, Florence Welch and even Yoko Ono than traditional musical theatre or opera…
The experience is truly transcendent, in a time where such expressions of love and spirituality vary, if they exist at all. Marisa Michelson and the Constellation Chor have created a sacred space through the openness of their hearts and voices, starting with themselves.” – Cindy Sibilsky, StageBiz
“Boundaries dissolved throughout the evening – between men and women, between rehearsal and performance, between sound and movement. What a pleasure (and a relief) to experience the softness of the five men in the ensemble as they joined with Sappho and sang joyfully about their breasts being towers. What a joy to be invited into the group hug of the Chor’s ethos and process as if we had always been a part of it. And what a thrill to watch the beauty of the simple, abstract choreography reflect the atmosphere of the music so wonderfully…The echoes of the voices and bodies stayed with me for days afterwards. – Ben Steinfeld, Co-artistic director, Fiasco Theater
“Voices floated upward into the cavernous playing space with overtones bouncing around the hall. There were gorgeous harmonies and mystical dissonances that put us in a meditative state.” – Meche di voce
“The choral writing is spectacular in every way, incorporating influences from the mystical canon, both sacred and profane, through world music, and including one of the longest, most exciting jazz riffs I have ever heard.” –Mel Marvin, Composer, Faculty: NYU
“Not Philharmonic regulars…”The New York Times
“They moved about the hall, molding the megaphones to facilitate breath-like sounds that provoked the whole body, not just the ear.” backtrack