“Hila Plitmann makes a secure, soaring protagonist,” according to Music Web International, she “makes a tremendous job of what is clearly a hugely demanding solo part.”
Press
Gramophone comments “The vocal part is lyrically soothing yet vocally acrobatic, and terrifyingly exposed… Plittman is unfazed and hypnotic in her crystalline, sorceress-like declamation.”
New Music Box says “Piltmann was a standout soloist [Zappa 200 Motels], hitting elaborate coloratura lines with laser precision while still being engrossingly expressive.”
Washington DC’s Cultural magazine District Fray said “Dove’s fresh, vulnerable assertion and Graham’s deeply moving vocals” Seem to “walk hand in hand. Danielpour’s composition acted as the conduit to link songwriter to songstress and instrumental ensemble, a collaborative foursome that redefines what it is to listen to fine music in the twenty-first century. If a world-class opera could come with required reading, “Playlist for the Apocalypse” would be ours — but if we’re to stand witness to an apocalypse, we’d rather do it with this group.”
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