Q magazine: Paul Stokes: The new wave of Neu Classical (March 2019)

Q magazine: Paul Stokes: The new wave of Neu Classical (March 2019)

Found & Lost

“Emily Hall [...] artfully mixes lyrical indie-ish songs with sinister instrumental effects"
"a bold project" 
The Times, Richard Morrison, **** 

"Part of the fascination is that you are never sure who are the real guests and staff, and who is acting a part.” 
The Stage

“it’s surely rather brilliant.” 
Whats on Stage

“startling and often beautiful music", “Ingenious" 
Guardian, Fiona Maddocks

“...a composer steeped in song, her music immediately appealing. If anyone can make an exquisite lullaby out of a hotel’s “turndown checklist” (one chocolate box on either side, eight cotton balls in the jar, slippers in pairs), Hall is the one and I’ll happily stay in her hotel.” 
Guardian, Fiona Maddocks

Folie à Deux

"Emily Hall's restless modernity mixes classical precision with an ear for folk and electronics. Folie à Deux is another of her ultra-melodic hybrids" 

"...the recording, concisely presented in a thirty-nine-minute form, provides no small number of listening pleasures." 

"it is intriguing and beautiful. It is full of delicately entwined vocals which intersect across each other and includes the harmonious partnership of classical music and minimalistic electronics – something that, to my mind, is rarely attempted to the same degree."
Drowned in Sound 


"a dynamic new opera worth everyone's time and hopes” 
The Times

Nightingale and the Rose

"A glorious avant-garde show that was as musically interesting as it was spiritually stirring"

"The highlight was Emily Hall's Nightingale and the Rose, a folk-pop-infused meditation on Wilde's fairy tale.[...]Wow."

Evening Standard **** Kieron Quirke

"A joyful event, culminating in a thrilling rendition of a sea shanty by all four casts, lifting the church roof with exhilerating glee"

"Most sophisticated [...] lyrical, folk-inspired score by Emily Hall"
The Daily Telegraph **** Rupert Christiansen

"The strongest fable, however, focuses on a broken heart and a simple folk song. Company members Victor Sande, David Sanchez-Remade and Kevin Woodward, with Revivalist drones and descants for violin and cello, led Emily Hall's adaptation of The Nightingale and the Rose, a wistful story of unrequited love, sensitively filmed by Gaelle Denis"
Independent on Sunday **** Anna Picard

"Immediately appealing is The Nightingale and the Rose, Emily Hall's delicate interpretation of Oscar Wilde's short story. Cast members fill the church with whistled birdsong before launching a heartfelt refrain that repeats throughout the score and Gaelle Denis's ravishing film."
Financial Times *** Laura Battle

Higher Ground

"The two standout pieces inhabited opposite ends of the stylistic spectrum. Anchored in the British song tradition, Emily Hall’s Higher Ground, for treble (Duncan Tarboton) and strings, evokes the legendary sunken town of Aberdovey as a metaphor for the engulfing consequences of climate change."
Guardian, Tim Ashley