about THREE WEEKS

"Only the weekend's final selection, Yoav Gal's "Three Weeks," seemed truly fresh: quite an achievement considering that its libretto, by Reuven Namdar, is in Hebrew, Latin and Aramaic and that its plot takes place around A.D. 70. An episodic stylized story of the rabbi who tries to save Jerusalem from Roman invaders, it manages to be serious without being ponderous.

Scored for three trombones, piano, percussion and double bass, the music has a brassy, sinuous klezmer flavor; its vocal lines recall traditional Hebrew melodies without seeming stale. From the start, with a tantalizingly strange short video element, there was a feeling of slightly manic, ramshackle energy. The piece is not afraid to play with operatic conventions, as in the Roman general's exaggerated coloratura, but neither is it emptily ironic. It was unpredictable sometimes absurd, sometimes sincere but with a core of real feeling. You didn't know what was going to happen next.

It's impossible to say what it will eventually amount to, but alone among the works at this year's Vox it felt new."

The New York Times by ZACHARY WOOLFE

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about MOSHEH

"To say that Yoav Gal's "Mosheh," playing in New York City's HERE through February 5, is an opera about the life of Moses is to understate the exhilarating complexity of the work"

"Gal's score, by turns contemplative and deeply unsettling"

"The improbably psychedelic costumes (designed by Gal and by Heather Green, who also plays Bitia) are artworks in their own right"

"Gal invites us to peer into Moses' emotional landscape, which, for an archetypal savior, turns out to be a surprisingly dark place."

The Forward by Eileen Reynolds

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"Mosheh," his compellingly idiosyncratic meditation on Moses and his relationship to the women in his life and to God, in that order.

Ms. Chinn also gave a lovely account of Miriam's gracefully lyrical opening aria, as well as the role's choreography of repeated, stylized gestures that give the impression of glitchy video.

Bitia's music, by contrast, is feisty and virtuosic, and Ms. Green's searing, powerful performance was spellbinding. Yocheved's and Zipporah's arias are melancholy and compact, and Judith Barnes and Beth Anne Hatton sang them deftly.

The New York Times by Allan Kozinn

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"Mosheh is a lush, vibrant, and very contemporary new opera. Whether you fully understand the story or not, this multimedia theatrical event will take you on a fantastical journey of the senses."

NYTheatre.com by Anthony Johnston

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Thou shalt hear this fine work about Moses

"... The gem of the score, though, is a quartet for the women narrating the plagues of Egypt, a virtuoso slow march of writhing vocal lines and sudden subtle modulations. "

New York Post by James Jorden

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"There is much to be said for seeing a production that's so different from anything else you've seen before,
... the product of a distinctive and original creative force and a showcase for talented singers willing to venture into the strange reedy waters of the imagination, it deserves attention."

blogcritics.orgby Jon Sobel

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There's very much a ritualistic structure to the work, at least in the hearing, and the audio alone makes the case for Mosheh as an innovative update to the dramatic oratorio. There are long instrumental sections that strongly imply an accompaniment to something on stage, and since this is such interesting and involving music, I recommend catching a performance even more than just buying the music.

The Big City. by George Grella

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Composer Yoav Gal's entrancing chamber opera Mosheh is familiar to anyone who follows the city's contemporary opera scene

Indeed, Mosheh's narrative thrust is enchanting, intense and unorthodox. Think less Charlton Heston's Moses and more The Who's Tommy.

City Arts, New York's Review of Culture. by Ryan Tracy

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"since the performance I've been curious to hear the rest of the work."

"Drawn to What's Next, Not What Has Been"

New York Times By Allan Kozinn

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Composer Yoav Gal Takes the most traditional Passover story, and turns it on its head.

Soundcheck, WNYC John Schaefer

"Gal’s diverse education allows him to do it all – composing, costume design, video art. All that combined has led to the recent creation of a fresh new opera for a small number of musicians and singers… to give the audience a different sort of opera experience.”

El Al Magazine by Asi Weinstein

... I highly recommend that readers see the full-length production as soon as it opens... Kristin Marting's direction, in combination with Yoav Gal's video design, Gal and Heather Green's costume design, and Juliet Chia's lighting design, furnished the opera with a surreal atmosphere that blurred the boundaries between space and time, and provided a temporary respite from normal life. At the same time, the hybridity of (the opera employed elements from dance, multimedia, music, and theater) facilitated a humanistic exploration of spirituality. I am eager to experience the full-length opera.

New Theater Corps by Eric Miles Glover

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the Passion: Mosheh and the Gospel According to Jack Vitrolo at culturemart.
Yoav Gal’s “videOpera” Mosheh, a simple and lovely take on the story of Moses… The 40-minute segment gives a great tribute to the matriarchy so vital to Jewish tradition and lore, an idea often lost in the pop culture of Charlton Heston and “Let My People Go.” … Add visually striking costumes (Gal’s and Green’s designs; think Julie Taymor meets the Bauhaus) and some layered video effects and Mosheh shows much promise.

Obscene Jester Posted by Tweed

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"The singer’s piercing voice and facial expressions, costume — purple and accordion-like — and spiky hair captured the audience’s attention as a video played on a wall behind her. Many in the audience had positive things to say about what they heard."
Lizelle A. Vibar, Audience Explores Young Composers’ Music.

New York Network

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about The DWARF

"…designing a bustle large enough to conceal the tenor who plays Lingus [the dwarf], seemed as much a source of pride to Mr. Gal as writing the piece itself.
Anne Midgette, "Never Say Die in Indie Opera."

New York Time

about BIT by BIT, CELL by CELL

"Like clusters of angels caught in various beams of light and held suspended as their songs bleed through to our world."

Dream Magazine, www.dreamgeo.com by George Parsons

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"...voice becomes sound, organic becomes digital, Traveller becomes landscape. It is no longer clear in this hexadecimal hallucination who these letters are from, or who they are to. In the end, as the Traveller gives herself up, bit by bit, cell by cell, to the rapture of digital oblivion, she perhaps discovers that after all, she is also the treasure she has been searching for. It’s fairly high-concept stuff – and you can include the low-tech approach in that equation – but perfectly accessible and often quite beautiful for it."

johnsonsrambler.wordpress.com/tag/reviews/ by Tim Rutherford-Johnson

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A gorgeous work for Atari 800XL and soprano voice, this multimedia disc on Innova Recordings really threw me for a loop. There are many layers of meaning here, to the point that its ultimately unclear what’s happened. Nevertheless, this release really pushed the envelope of how much can be asked of the listener. I’m more than certain I’ll be using a large portion of 2007 to continue figuring this album out.

Startling Moniker

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Gal and Kanarek contrive an unsettling universe. Kanarek’s cryptic story unfolds through a traveler’s postcards. Gal’s music extends Rivkin’s serenely innocent soprano with campy processing and gushy electronics, his only tool being an ancient Atari 800XL. Taken together, the audio, the booklet, the enhanced CD’s video and the online site (http://www.worldofawe.net/), Gal and Kanarek lay out a puzzling mystery in a parallel universe utterly askew. The short track “Grid” ranks high amidst techno-minimalist chatter, à la Reich and Lentz. Gal’s artfully constructed retro score achieves more than the work of many who compose with up-to-date gear.

La Folia by Grant C. Covell 2008

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about VENUS IN FURS

"Perhaps this was music that was too pretty, but it gave a nice opportunity for the singers to shine."

The New Music Connoisseur by Barry Cohen, (Vol. 12)

about BERESHIT

"a theater piece in an advanced state and just crying out for a stage…”

The New Music Connoisseur Barry Cohen, (Vol. 9, No2)

about ONE WOMAN – ONE HUNDRED BIRDS

"Mr. Gal’s One Hundred Birds and a Woman is beginning to come together perfectly as a ‘falling apart’, a study of frantic dissolusionment."

The New Music Connoisseur by Barry Cohen, (Vol.8 No. 2)

about MAO ZEDONG - JEALOUS SON

about :

The New York Press

"… a very, very alternative way to celebrate Chinese New
Year… similar to Einstein On The Beach The Death of Klinghoffer and Nixon in China."

(issue No. 176).

 

 

about 1993 PIANO PIECE

The San Diego Jewish Press.

"The piece by Yoav Gal favors the bass register almost exclusively…the writing is dominated by insistent ostinatos, rapid rhythmic ejaculations and a wash of pedal. One brief interlude of chords in the midrange relieved the mood of unremitting darkness".

 

 

Dr. KING

nightafternight.blogs.com/night_after_night/2006/02

Gal's Dr. King made canny use of rhythmic cadences provided by recordings of speeches by Martin Luther King, Jr.; his lovely music turned one happy phrase after another..."