2016 Quotes & Reviews

“…not afraid to try new things, pushing the boundaries as an ensemble – both individually as performers but also in what they present to their diverse audiences.”

Kathryn Robinson – ClassikON (Kontiki Racket, Sydney)

“The concert was impressive for the brave choice of new music presented and the excellent musicianship and dedication of Ensemble Offspring to bring it to life.”

Daniel Kaan – ClassikON (Kontiki Racket ,Sydney)

“…the intimacy and strangeness of these inexplicable rituals was, at times, spell-binding.”

“…some beautifully crafted moments – all of the musicians are the real deal, and use their instruments with a conscious, bodily presence; and performers Narelle Benjamin, Katherine Cogill and Katia Molino were hypnotic.”

Georgia Symons – ArtsHub (The Secret Noise, Melbourne)

“Strong fluid and flexible contemporary dancers integrate the interesting sounds and music to bring the whole thing together. Their incredible strength, technique and stamina captivates us.”

“The Secret Noise is defying genres and discovering magical creative gems for audiences of all ages to share and enjoy.”

Joanna Simmons – Theatre Press (The Secret Noise, Melbourne)

“…the most engrossing passage of play came in a solo from Edwardes on keyed percussion: not over-complex, shaped with clear-speaking artistry…”

Clive O’Connell – The Age (The Secret Noise, Melbourne)

“…all three works on this remarkable program demonstrated uncompromising assertiveness.”

Clive O’Connell, The Sydney Morning Herald (Exit Ceremonies, Melbourne)

“…the kind of music that may not get stuck in your head because it’s busy burrowing deep down into your brain.”

Tom Bensley, The Plus Ones (Exit Ceremonies, Melbourne)

“This is sensuous, immersive ambient music and a stunning example of how a good composer can distil the bombast and drama of the pipe organ into a thing of simple grace and beauty.”

Luke Telford, The Guardian (Exit Ceremonies, Sydney)

“The Australian Art Orchestra and Ensemble Offspring’s recent commissioning program for new organ works is therefore of international importance.”

Matthew Lorenzon, Partial Durations (Exit Ceremonies, Melbourne)

“In Mona’s winery barrel room, Claire Edwardes and Bree Van Reyk of Sydney organisation Ensemble Offspring built hypnotic patterns, sometimes playing blindfolded, sometimes with eyes open.”

Adam Morton, The Age (Mona Foma, Hobart)

“★★★★★ Ensemble Offspring percussionists astound at this year’s Mofo.”

Stephanie Eslake, Limelight Magazine (Mona Foma, Hobart)

“In lieu of their vision, the ears were clearly working overtime as the piece ended with one of the widest and smoothest diminuendos I’ve ever heard, demonstrating the oft-forgotten dynamic capabilities of the percussion instruments.”

Thomas Misson, Cut Common (Mona Foma, Hobart)

“Ensemble Offspring may be classically trained, but they have used this training to push the boundaries of sound with true innovation, leaving audiences wide-eyed.”

Melissa Davey, The Guardian (Mona Foma, Hobart)

“Edwardes and Van Reyk controlled the vortex of perpetually propelled sound to wrap up a program that showcased these two powerhouse percussionists to perfection.”

Delia Bartle, RealTime Arts (Mona Foma, Hobart)