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Emergence I

June 2018

“Guerilla Opera’s singers and musicians returned listeners to the dark and delightfully weird sound worlds that have become a hallmark of the company’s shows.” BOSTON CLASSICAL REVIEW

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Loose, Wet, Perforated

September 2016

“A striking and vivid new production… colorful music… the score is a marvel of text setting… The singers, composed of Guerilla Opera regulars, were excellent.” BOSTON CLASSICAL REVIEW

 
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Pedr Solis

May 2015

“Per Bloland’s ‘Pedr Solis,’ given its premiere staging on Friday by Guerilla Opera, hit a sweet spot… the whole thing — as usual with Guerilla Opera — realized with energy and commitment. […] The singers, all Guerilla Opera familiars, were uniformly estimable.” THE BOSTON GLOBE

“…the production by Guerilla Opera proved to have as much sex, violence, special effects, blood and guts, and dead bodies at the end as anything by Richard Strauss.” BOSTON CLASSICAL REVIEW

 
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No Exit

September 2013

“Exceptional… There is no hiding the trio’s talents as singers and actors” THE BOSTON GLOBE

“Vores’s seductive and scary score is a wonder of musical invention” NEW YORK ARTS

“A gripping evening of music and theater” BOSTON CLASSICAL REVIEW

 

Say It Ain’t So, Joe

September 2009

The instrumental work showed MAJOR CHOPS AND ENERGY… — THE BOSTON HERALD

 
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Chrononhotonthologos

November 2017

“Thanks to the enterprising Guerilla Opera for commissioning a terrific new opera by Andy Vores, “Chrononhotonthologos,” a deliciously inventive musical version of an 18th century political farce by Henry Carey, which ends with Vores’ beautiful and stirring setting of Matthew Arnold’s “Dover Beach” … musically it was a knockout.” WBUR

“Every year for the past decade, Guerilla Opera has brought fresh new works to the stage, and each has been vivid in its own way. But Chrononhotonthologos is perhaps the company’s best-sung and most entertaining work to date.” BOSTON CLASSICAL REVIEW

“Making a virtue of the minimal staging and limited means of rendering action, the stage designers took many creative risks.” BOSTON MUSICAL INTELLIGENCER

 
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Beowulf

May 2017

“Brian Church sang handsomely and acted compassionately… clarinetist Amy Advocat, saxophonist Philipp A. Stäudlin, percussionist Mike Williams, and violinist Lilit Hartunian played with passion and assurance…” THE BOSTON GLOBE

“…a contemporary tale, yoked to the past with one simple word — a name….relentlessly inventive…an inspired authorial stroke.” THE ARTERY, WBUR

 
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Let’s Make A Sandwich

September 2014

“…one of Guerilla Opera’s greatest strengths has been its ability to ground even the wildest of theatrical excursions in the lines of communication between performers and audience: Its productions invite you in.” THE BOSTON GLOBE

“…well-crafted music … Hughes’ score for RareBit features an eclectic wash of sounds, with low buzzing electronics mixing with angular riffs from winds, vibraphone, and drums, expertly played” BOSTON CLASSICAL REVIEW

 
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Giver of Light

May 2013

“GLORIOUSLY WEIRD AND SONICALLY RICH… opera at its most TRANSPORTING” New Music Box

“ATTRACTIVELY KINETIC score… VIBRANT… Guerilla Opera as a company (Rudolf Rojahn and Mike Williams, artistic directors) seemed to be exactly where it should be: bringing a FRESHLY AMBITIOUS new chamber opera into the world with PLUCK AND STYLE.” The Boston Globe

“an attractive mix of the familiar and EXOTIC… OTHERWORLDLY… INVENTIVE staging” Boston Classical Review

“One need not be an opera aficionado or Rumi scholar to appreciate what they’re doing here. It’s CREATIVE, PASSIONATE, SKILLED, and TRANSFORMING, which is all opera ever has or should be.” North Shore Art Throb

10th Anniversary Party!

May 2017

“Composers who have worked with Guerilla love its intrepid model… Each production also requires great virtuosity from all involved, working from technically difficult scores without the aid of a conductor… As the company moves into its second decade, radical exploration remains the cornerstone of everything it does.” THE BOSTON GLOBE

“Over the past decade, Guerilla Opera has brought a host of wildly inventive operas into the world. Each has been memorable, featuring gritty story lines, imaginative staging, and mesmerizing music… One hopes that this imaginative company will have many more years of activity.” BOSTON CLASSICAL REVIEW

“Unlike other small local companies that reduce grand opera to fit diminished budgets and forces, GO exists as a contemporary-music ensemble with a bent for premiering vocal works tailored to its particular budget and forces. Thus they make no compromises in producing small-scale contemporary opera… Perhaps an entirely new term is needed for what the Guerillas do.” BOSTON MUSICAL INTELLIGENCER

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Troubled Water

September 2015

“In Higuchi’s story “A Snowy Day,” the narrator envies “those who see the snow spread out before them and fashion their metaphors.” “Troubled Water” honors that impulse to view the world from a vantage — and distance — of artistic possibility.” THE BOSTON GLOBE

“In an age when opera companies are buckling under increasing financial pressures to stage elaborate performances, Guerilla Opera is a breath of fresh air. With a shoestring budget, the company has brought a host a new and enticing works into existence. ‘Troubled Water’ is another exemplary show in a string of worthy repertoiry. It is a mesmerizing work, and received a memorable performance.” BOSTON CLASSICAL REVIEW

 
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Gallo

May 2014

“The music is rich in inspiration, elegantly stark in effect… very much an experimental opera, not only in its willingness to try anything, but in that its dramatic impulse is, in essence, its inventive impulse… demonstrating that the family tree still produces surprising branches.” THE BOSTON GLOBE

“uninhibited… ravishingly beautiful…” NEW YORK ARTS

 
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Heart of a Dog

September 2010

ENTERPRISING and unmistakably alternative… — HARLOW ROBINSON, THE BOSTON GLOBE

Heart of a Dog is SMART, QUIRKY contemporary opera with a lot of talent, creativity, and professionalism behind it… A prime and rare example of OPERA PROPERLY COMPOUNDED WITH THEATER. — BOSTON LOWBROW