The Sarasota Opera and the Sarasota Youth Opera gave our city an enormous gift with the world premiere of “Rootabaga Country,” a lyrically powerful new opera...Frankly, performance at this level of creativity and expertise is an unfair challenge to the work of a music critic. We hope that this work, commissioned by Sarasota Opera, will find a place in the repertoire of many opera companies in this country and around the world.
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Peters’ score is both tonal and melodic, filled with shifting rhythms and meter, and her libretto is both intelligible and singable, while moving the story ever forward.
, --Sarasota Observer
Read the complete review.
The Mezz With Brian Hersh (radio interview)
Feature in SRQ Magazine
Feature in Sarasota Observer
THE WILD BEAST OF THE BUNGALOW
It was, frankly, spellbinding. Peters' music grabs you by the collar and demands your attention...Peters has lots to say and is not afraid to shift gears as she goes along.
The Wild Beast of the Bungalow was a fun, dark satire of a young girl growing up, presented as a concert reading. It was great to see opera about girlhood—just as it was great seeing opera made by a living composer—who was also female—conducted by a woman. It really drove home the whole advantage of having smaller companies to promote otherwise under-recognized voices. --Surroundings
Companionship is riotously funny and involves talking dough and poisonous family dynamics…I’d certainly like to see the finished projects as chamber operas!
STRETCH (A FANTASIA)
When the red velvet stage curtains part, we are treated to quintet of bass, trumpet, two violins, and an IBM Selectric. (Note to orchestrators: this combination of instrumental voicings is surprisingly evocative and supple and it does very well at suggesting the jarring, irresistible world of the subconscious.) Composer/conductor Rachel Peters offers a running rhythmic commentary on Rose's rise and fall with her IBM keyboard, and noisy work is what makes Rose's heart sing.
--New York Theatre Wire
TINY FEATS OF COWARDICE
**** (four stars) These guys aren't using the Fringe to launch improbable projects or careers; they're workshopping a solid Off Broadway project-in-progress. With help from a very capable backup band, she makes each fear pull its weight, emotionally and comically.
The women sing and dance to the jarring, inventive music of Rachel Peters—a brilliant, original composition with overtones of the disjointed, atonal work of György Ligeti.
--The Sarasota Observer