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Press Review

When the press speaks about them


« The music enhanced every aspect of it,” Rosalie Hutson (sophomore, kinesiology) said. “Every time the music got more intense, so did what the acrobats were doing. The musicians played the first part of the of the show without sheet music, and played the second part of the show wearing blindfolds as the acrobats continued to do flips and other extreme physical feats around them. One acrobat even entwined herself between a quartet member and his instrument. »

Katie DeFiore, The Daily Collegian, 2015


« The combination of risk and physical wizardry seemed a perfect match for the music. As for the Debussy Quartet, their feat can hardly be overstated. To play three quartets – the others were No 5 and No 11 – almost entirely from memory to such a level of intelligence and musicality would already be beyond most players. To do so while walking around barefoot, sometimes blindfolded, with 14 bodies jumping and leaping dangerously just inches away, renders one speechless. The joint trust between all, acrobats and musicians alike, was extraordinarily moving. Shostakovich would have thrilled to every second ».

Fiona Maddocks, The Guardian,  2014


« Opus is cut-glass, caviar circus. It’s black tie and ballgown circus. And it’s an astonishing thing to watch: graceful, bombastic. Profound ».

Matt Trueman, The Telegraph, 2014


« It is a complex relationship, spatially and dynamically. The musicians walk in and around the action and at times sit blindfolded, sharing the danger and excitement of the frenetic tumbling frothing around them while continuing to play undisturbed (…) But it is Lifschitz’s ability to produce an aesthetic experience from the accumulation of all the components of the show that speaks the loudest. It’sbreathtaking, it is beautiful, it is epic. Not even a trick gone wrong blows the power of the show. An astounding experience ».

Shaaron Boughen, The Australian, 2013


« Debussy’s musical phrases arise and fall off; lines of conversation are interrupted, change direction, dissolve into vibrations, accelerate into whirlpools of energy that subside back into lovely, lyrical phrases that haunt by being repeated and merge eventually into long melodic lines that promise a pastoral peace. Debussy’s music is quite fearless, and cheerful in a Gallic way, and this Quartet that bears his name carries it well. « 

Walter Hall, www.showtimemagazine.ca2011


« …the playing from the Debussy Quartet is highly persuasive. Using a range of subtle shades the players at last bring variance to frequent restatements, and overcome the absence of an organic link between movements by creating an overall mood of youthful melancholy. « 

David Danton, The Strad, 2011


« Unsurprisingly Box Box is all about the nobel art – for one, three and more. And all the sport’s pageantry as well, wich makes the piece visually dazzling – bright red gloves, punching balls that exploe like balloons, a black and white checkerboard set. Once again Mourad Merzouki sets his props dancing, in sequences that regularly yet always unexpectedly veer into burlesque. This collective performance thrusts up out of the shadows like a clip from an old movie, a spirited jumble of hip-hop and fisticuffs. Franz Shubert, Maurice Ravel, Felix Mendelssohn and Glenn Miller: the choice and meticulous timing of the music inject a touch of both romanticism and melancholy into scenes hovering like bubbles, light years away from the clichés of the bloody arena. »

Rosita Boisseau, Le Monde, 2010


« After a good account of Haydn (d. 1809, obligatory and rightly so in his special year) which took a few minutes to settle, and had several passages for the lower players of particular interest, the rest of their hour was devoted to French rarities; the Wigmore Hall coffee concert audience is not easily daunted, and there was a large, very receptive crowd. »

P. Grahame Woolf, Musical Pointers, 2009