Not since “Sweeney Todd” has operatic blood, guts and dismemberment been so entertaining. “Elizabeth Cree” represents a superior fusion of creative impulse, one element enhancing the other…a show not to be missed.
Unsettling, darkly brilliant.
Chicago Classical Review.
This gory, clever, and serious romp is not an opera you’ll be putting out of mind as you head up the aisle after the cast takes its well-deserved bows.
A masterpiece hits the stage in potent fashion.
—Chicago On The Aisle
Grisly and brilliant.
Gruesome yet oddly entertaining
The New York Times
A bloody good opera.
The Philadelphia Inquirer
A viable, fast-paced ninety-minute entertainment.
Vivid characters, ingenious development and gripping music
DC Metro Theatre Arts.
Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree. Opera Philadelphia’s Elizabeth Cree represented a thrilling collaborative effort from a dream team of some of the world’s most accomplished music and theatre practitioners. Their concerted efforts have made a compelling case for this highly anticipated piece, which assuredly deserves a bright future of subsequent productions.
WQXR'S "Operavore" Opera Moments of 2011
Perhaps it's unfair to include a production from Minnesota on this New York-centric list for a New York-based radio station, but Minnesota Opera presented one of the most compelling, memorable and poignant new works I've seen in recent years. Libretto and score merged flawlessly...here's hoping that it soon reaches New York-and recording.
Grimly beautiful, the piece is a significant addition to the repertoire and heralds the emergence of composer Kevin Puts as a force in American opera…Librettist Mark Campbell's text is terse and cogent; he knows how to convey the essentials and leave the heavy lifting to the composer.
To fully appreciate this achievement, one must begin with the libretto by Mark Campbell. Adhering closely to Christian Carion’s original screenplay for Joyeux Noël, the librettist focuses on each character’s own distinctive sense of grief, whether expressed as guilt over a fallen brother or the simple craving for one blissful night of uninterrupted sleep. These yearnings are memorably expressed in a verbal mosaic of English, French, German, Italian, and Latin. Yet while each voice is unique, they are united by an empathetic longing.
—Twin Cities Examiner