SATB solo voices; SATB chorus;
0.0.0.0-1.1.1.1-perc[snare/cym/glock/b drm/tom/3gongs/tri/hihat/tam/ratchet]-ondes Martenot-pf
Abbreviations (PDF)
Boosey & Hawkes
Le Devoir [translated from French]
“a stunning masterpiece”
“The singularity of Clown(s) within the operatic universe should earn the composer an even broader and more rapturous international response than Svadba, her previous and widely acclaimed operatic work.”
"What defines the genius of Clown(s) is not only its originality, but its power, intelligence, and extraordinary level of realization.”
La Presse [translated from French]
“There is everything in this score: a Ligeti-like chorus at the clown’s conception ... and several passages whose rhythmic vigor recalls Stravinsky—especially Les Noces. But above all, it is Sokolovic—her unmistakable gift for atmosphere-building and instrumental color.”
“There is circus, commedia dell’arte, Fellini, and much more—true theater injected directly into the veins.”
My Scena [translated from French]
“The emergence of a new genre.”
“Clown(s) represents an arrival point—a decisive moment in an artist’s life after which one can say there is a ‘before’ and an ‘after.’”
“The choice of the ondes Martenot … is an act of inspired genius.”
Opera Canada
“I’ve never seen anything remotely like it—and I doubt I ever will again.”
“Clown(s) is full of driving rhythms, strong contrasts ... haunting melodies and striking dissonance.”
“It’s rare for an opera to feel genuinely interdisciplinary.”