Press

           “… Boston Modern Orchestra Project and thereminist Carolina Eyck treated the audience to … the world premiere of Dalit Warshaw’s ‘Sirens,’ a sublimely expressive concerto written specifically for Eyck. … The program note for Warshaw’s “Sirens” explained the many names and leitmotifs the composer had woven in, but not knowing those shouldn’t lessen anyone’s enjoyment of the piece, which unfolds in three strikingly conventional movements: opening and development, slow reverie, chaotic fugue. At times during ‘Sirens,’ Eyck’s theremin masqueraded as bassoon, violin, cello, electric bass, and even a chorus of human voices – but mostly it was entirely itself, pouring out winding ribbons of fluid, perfectly seamless song. To me, the theremin sounds like idealism.” ~ Zoe Madonna, The Boston Globe

“An electronic interloper – the theremin — boldly joined the Albany Symphony Orchestra on Saturday night at the Palace Theater. … Dalit Warshaw’s concerto “Sirens” was a subtle and sophisticated showcase for the instrument and soloist Carolina Eyck played with beautiful expression.  During the mysterious opening minutes, one’s listening parameters needed adjusting and the writing seemed to deliberately play with that.  At a low dynamic, there’s little substance to the sound and it can easily slip into the mix with no attack.  Meanwhile, Eyck’s precise gestures were captivating all on their own. 

In its upper range, the theremin resembles a soprano voice, as it did near the close of the opening movement.  The instrument displayed a warm humanity and brought to mind the cello during the second movement.  Highlighting this chameleon nature, Warshaw sets up numerous duets with other instruments.  She also allows the theremin space to breathe and gave countless solos to members of the orchestra.” ~ Joseph Dalton, The Times Union

“Warshaw did a brilliant job blending the various orchestral instruments’ colors with the theremin’s haunting, eerie, almost swoon-like sounds. The first movement showed off its huge pitch range and lyrical qualities. The second movement was darker; the third spiky. … Watching Eyck use balletic hand gestures to create the melodies, glissandos, and various levels of volumes was almost mystical.”  ~Geraldine Freedman, The Daily Gazette

 “Warshaw’s Conjuring Tristan for piano and orchestra… proved to be an ambitious undertaking. … Her narrative concerto is based on Thomas Mann’s novella, “Tristan,” which tells the story of an ailing, young woman, in residence in a sanitorium while undergoing a treatment for tuberculosis. Gabriele also is a pianist who rekindles her artistic spirit while playing through the music of Wagner’s opera at the urging of another patient. Leitmotivs – particular musical gestures, denoting a person, place or an idea – abound in Wagner’s music, and Conjuring Tristan appropriates many, particularly in an expansive solo cadenza summarizing the scene in which Gabriele reads through the score, lovingly played by Warshaw. A graceful and sensitive pianist, Warshaw is an intriguing orchestrator who draws a wealth of colors from an ensemble. … Conjuring Tristan … tells a story within a story that itself is a metaphor portraying the dichotomy between life and art, all clothed in the soundscape of 20th century music.” ~ Jeffrey Kaczmarczick, The Grand Rapids Press

 “She played with unassuming grace, and the voice of the theremin mixed nicely with the other instruments. … The music was unearthly, more like a violin than anything else but not really like a violin, either. … Her right hand looked as though it were picking lint off a tapestry; her left hand looked as though she were petting an otter. … This is the kind of concert that 2013 was supposed to have … ” ~ Jon Carroll, San Francisco Chronicle

“So an unassuming listener to Invocations—the first CD devoted to the music of Boston-based composer Dalit Warshaw—is in for a wonderful shock; the kind of shock that 21st-century new music seems to do better than music from any other era. This is not music that will completely redefine what music can be, like so much 20th-century music had done, but it is also not quite a comfort zone as most music from earlier eras—no matter how initially revolutionary—has become through our familiarity with how it is supposed to sound.” ~ Frank Oteri, NewMusicBox

“The music on her new CD, Invocations (Albany Records), is brainy and surprising, bristling with dissonance one moment and purring lyrically along the next. Who could resist a series of rigorous permutations on the dreidel song (“The ‘Dreidel’ Variations”)—or a piece that calls for not one, but two theremins (“Nizk’orah”), both played by the composer herself?” ~ Alexander Gelfand, The Tablet

“ … This is a very special CD … I highly recommend it … as a wonderful introduction to a new and unusual compositional voice.” ~ Lynn René Bayley, Fanfare Magazine

“ … The Israeli-American composer living in Boston has written music for almost as many orchestras as her age, … including the Grand Rapids Symphony four years ago. Warshaw has a gift for colorful orchestration, not only with such exotic toys as rainstick but with the regular instruments as well. With the 60 to 70 teenage voices on stage, she also delved into narration, reader’s theater and other vocal effects. The opening unfolded artfully from a single clarinet to near chaos. The center movement, a celebration of victory, had some hair-raising moments. The Hebrew chant was powerfully sung, and the uncertain end struck a nerve.” ~ Jeffrey Kaczmarczick, The Grand Rapids Press

“Expertly controlling her instrument, Warshaw played it straight throughout—so straight, in fact, that her expressionless face, turned full to the audience, became part of the weirdness of it all.” ~ David Wright, Boston Classical Review

“ … Schneider was following a tough act: theremin soloist Dalit Warshaw, resplendent in a red-and-black dress that resembled a Mondrian painting. The theremin’s otherworldly sounds (often heard in sci-fi film scores) are controlled by gentle hand movements around two antennas and amplified in a speaker. Warshaw’s poker-faced manipulation of this device was a work of performance art.” ~ Harlow Robinson, The Boston Globe

“ … the performance was, on the whole, superb. Dalit Warshaw, composer and thereminist-extraordinaire, took on the lyrical solo part. She brought a very nice shape to Air’s opening and closing sections and seemed to have a lot of fun with its involved cadenza.” ~ Jonathan Blumhofer, www.artsfuse.org