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John Gilles
Opera Canada, September 2015

Weird, wild but very accomplished, Resurrection is very much a period piece. It’s a punk-style reaction to Margaret Thatcher’s Britain and the inability of working class and labour movement to articulate anything other than a nostalgic response to it. © 2015 Opera Canada



Joshua Rosenblum
Opera News, May 2015

The composer isn’t necessarily saying it’s bad that we face hypocrisy and commercialism at every turn; he’s just saying that, while we may accept it all as normal, it’s actually pretty darn bizarre and occasionally frightening. © 2015 Opera News Read complete review



Allen Gimbel
American Record Guide, January 2015

Performances are extraordinary… © 2015 American Record Guide Read complete review on American Record Guide



Anthony Tommasini
The New York Times, October 2014

…a performance dynamically conducted by the composer. Talk about a wild and crazy opera! This opera is screaming for a new staging. © 2014 The New York Times Read complete review



Paul Corfield Godfrey
MusicWeb International, October 2014

The presentation by Naxos is all that one could wish. © 2014 MusicWeb International Read complete review



Malcolm Hayes
BBC Music Magazine, September 2014

Performance
Recording

Maxwell Davies’s matching panoply of stylistic musical masks is magpie-like even by his standards: besides the soloists in their multiple roles of the Hero/Dummy’s family, tormenting authority figures, surgeons, politicians, Greek gods, and such like, there’s also a separate vocal quartet singing television-advertising jingles, plus a rock band belting out items of the kind of baleful cheesiness…Whether you find all that as emotionally and intellectually shocking as the composer evidently intends it to be, or simply an over-the-top circus, there’s no debating the astonishing technical apparatus that makes it ail happen. Davies’s conducting secures a performance of-ceaseless brilliance to match. © 2014 BBC Music Magazine



David Denton
David's Review Corner, August 2014

Who we are, and how do react to those around us? That is the question posed in Peter Maxwell Davies’s one act opera before its ‘hero’ is ready for Resurrection. Mixing a heady pastiche cocktail of hymn tunes, marching bands, saccharine waltzes and a rock band to underline and parody the text, central to the action is a larger than life dummy with its back to the audience. It is undoubtedly a visual opera, and it intends to disturb us by the shocks Davies has created. The recording…is immaculately balanced, the many and different sound-centres. Davies enjoyed some of the finest British singers of the day, including Della Jones, Martyn Hill, Neil Jenkins, Henry Hurford, Gerald Finley, Christopher Robson and Jonathan Best, who between them play the many parts, while Mary Carewe doubles as the Cat and a highly persuasive Rock singer who joins with the group, Blaze. In sum, it is a score that demands hearing… © 2014 David’s Review Corner





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