Marijje van Stralen – Soprano

Backwards from Winter

“… THIS MODERN OPERA IS REMARKABLE…AS A PACKAGE IT MADE FOR A THOUGHT PROVOKING PRODUCTION.”

“The first object to notice when entering the dimly lit hall was an upturned car; haze emerging from somewhere near its roof that was pressing into the ground, indicating a fatal accident had recently taken place. In front, a catwalk-like stage was set and a solo electric cellist and vocalist (Antonis Pratsinakis) waited at the far end. The audience was seated parallel to this long stage, which was covered with a sheet of white pillows; over this, projections of various shapes and colours were cast to indicate the mood of the opera.”

“I did take pleasure in the full experience of this opera. It’s darkness matched the sex-and-death themes of the Dark Mofo festival.”

LIMELIGHT MAGAZINE on the Australian Premiere Season

The Barbarians

“It embraces the contradictions of both the poem and the zeitgeist… poetic visuals are couched in lush theatrical language…”

Robert Jarman, The Mercury, 2012

“The Barbarians ravish in sumptuous score…”

Deborah Jones, The Australian Newspaper, 2012

“The production pushed boundaries into the future…”

Leanne Minshull, artsHub, 2012

Prayer Bells

“…intriguing and compelling – the sounds ascending like spirits into the darkness of the church’s high vaulted ceilings…”

Kirk Hume of Opera Opera magazine, 2010

Kimisis – Falling Asleep

“The unusual performance opened with the audience surrounding the death bed represented by the shrouded Pilates trapeze equipment.”

“Kimisis – Falling Asleep packed a punch in just 15 minutes… a mesmerising musical experience…”

Elizabeth Ruthven in The Mercury Newspaper, 2010

To Traverse Water

“Devastating in its restraint, simplicity and gravity…
It demands your surrender, and deserves it. An extremely sophisticated production, performed with an audacious and exhilarating disregard for what might be considered the rules of drama…”

Elizabeth Ruthven in The Mercury Newspaper, 2010

“An extraordinary example of cutting-edge music theatre… The long sweeps of sound, founded in traditional Greek folk and religious music… [have] a profound spiritual quality, lyrical, emotional, entrancing.”

“The trance-like music was the highlight of the night… what’s exciting is to experience such good music so innovatively and powerfully staged.”

James Waites – The Sydney Morning Herald 1995

Days and Nights With Christ

“An unforgettable experience for the open-hearted… a coup de théâtre”

The Bulletin, Brian Hoad

“…devastating in its restraint, simplicity and gravity….
It demands your surrender, and deserves it.”

“…an extremely sophisticated production, performed with an audacious and exhilarating disregard for what might be considered the rules of drama.”

by Deborah Jones