““Zisser’s sound world is far from standard-issue modernism: it is distinctive for its keening strings in quarter-tones, off-centre effects that destabilise the scene as if from within the characters themselves; electronics are seamlessly integrated, uncompromising chunky chords measure out emotions to match, and resonant percussive effects create chilling auras of sound. Above all, there’s urgent human warmth at the core of it”
— Jewish Chronicle
“The sonic world is deeply unsettling, from the creepy mindfulness-esque tune at the start to the breathless, heart-thumping conclusion…the soundscape tells us we’ve reached a climax, and our imaginations fill in the rest” — New Statesman”
— New Statesman
“Artful simplicity ”
— Classical Source
“The unnerving atmosphere was skilfully created, highlighting the incurable fragility of the human psyche…Exhilarating and rewarding journey”
— One Stop Arts
“Her music, combining traditional Jewish melodies and quarter-tonal trills with all the expanded sonorities and extended techniques of 20th century composition, is sensuous without being trite; subtle without being slight. Through a deft skein of small gestures, Zisser is able to build up a sound world high on atmospherics, gossamer-light and richly engrossing”
— Van Magazine
“Zisser embeds the narrative in a constantly shifting soundscape of darkening harmonies and subtle textural gradations that create continuously evolving patterns of tension and release. Cantorial music, introduced into opera for the first time, punctuates the narrative with moments of communal reflection, while electronic sound suggests the distant rumble of the city in which the work is set”
— The Guardian
“Na’ama Zisser’s work ‘Drowned In C’ opened the evening convincingly. The ensemble played with gentle force, creating delicate textures and shimmering sounds that slowly shifted and dispersed in space... Zisser, was present in the hall and received enthusiastic round of applause, and rightfully so”
