Press Aclaim Components

"Delightful, albeit unusual, holiday fare... "Becoming Santa Claus'" complex score and clever libretto (with a plot just begging for a Pixar adaptation) were both written by Adamo; though the subject matter is child-centric, Adamo’s dense and vocally challenging score is anything but."
Katherine Buzard
,
Chicago Classical Review
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"A minute after the music began, I knew that I was in the hands of a brilliant theatre composer."
Alex Ross
,
The New Yorker
New York Times
“...Little Women is a carefully structured, sophisticated score that finds a workable balance between 12-tone techniques -- many of the major recurring themes are built from tone rows -- and unabashed lyricism.”
Allan Kozinn
,
New York Times
New York Times
“Mark Adamo's Little Women is some sort of masterpiece.”
John Rockwell
,
New York Times
Gramophone
“The composer’s libretto captures much of the grace and fluency of Alcott’s writing…”
Ivittes
,
Gramophone
The New York Times
“Mr. Adamo, who also wrote the libretto, invents characters and conflicts and makes the story a richer human drama…”
Anthony Tommasini
,
The New York Times
Variety
“...delivering more genuine laughs than just about any comic opera since Gianni Schicchi...His amusing, slang-strewn libretto uses the Aristophanes original only as a point of departure.”
Eric Myers
,
Variety
Bachtrack
“...he has an extraordinary ear for vocal writing and a knack for theater, and has written an engaging, coherent, and beautiful work.”
SFGate
“Adamo has the ingenious knack for creating memorable themes whose recurrences serve as signposts for the drama, and his vocal writing is both urgent and shapely.”
Joshua Kosman
,
SFGate
The New York Times
“Mr. Adamo knows how to set English so that the words come through clearly when sung, a technique that too many opera composers struggle with.”
Anthony Tommasini
,
The New York Times
BachTrack
“By emphasizing the humanity of its characters – disregarding Christian dogma and supernatural dissonances (virgin birth, miracles, resurrection) – Adamo has located the story’s more universal aspects and created a compelling, dramatic journey.”
Jeffrey S. McMillan
,
BachTrack
New Music Box USA
“...Adamo’s opera, which aims to reconcile sexuality with a Christian life, and which argues for a woman’s right to possess a physical identity without abandoning spirituality, could not have found a more appropriate home than the San Francisco Opera.”
Sidney Chen
,
New Music Box USA
Opera Warhorses
“The resulting work is not a “children’s opera”, but a musically sophisticated fantasy, that explores a 13-year old boy’s psyche.”
Will Burnett
,
Opera Warhorses
Voix des Arts
“Even when dizzyingly difficult, the angular vocal lines are singable and memorable—the hallmarks of effective opera whether composed by Mozart, Verdi, Gounod, Wagner, or Adamo.”
Joseph Newsome
,
Voix des Arts
TheaterJones
“Adamo creates a completely new legend for his Santa Claus and sets a Pixar-esque opera with an explosion of kaleidoscopic music.”
Gregory Sullivan Isaacs
,
TheaterJones
D Magazine
“It’s merry, it’s bright, and, in the best possible, most imaginative ways, it is very, very Adamo...Claus’s magical childhood kingdom sparkles with mystery thanks to inventive orchestration.”
Catherine Womack
,
D Magazine
Cultural Attaché
“The opera cleverly combines Euripides’ Bacchae with Bram Stoker’s Dracula. If that sounds like solely an intellectual exercise, it actually works well.”
Craig Byrd
,
Cultural Attaché
Albuquerque Journal
“...a searing account of the monster inside us all.”
Kathaleen Roberts
,
Albuquerque Journal
CultureVulture
“The Lord of Cries is challenging stuff—a complete theatrical immersion … Contemporary politics and even the world of pandemic we have been living through all seem relevant to one of the basic ideas of the opera—fear of the ‘other.’”
Michael Wade Simpson
,
CultureVulture
Guitar from NYC Review
“The libretto is by Mark Adamo, Corigliano’s husband, who is himself an opera composer of considerable accomplishment... Adamo’s double-layered conceit is a good match for Corigliano’s aesthetic, which thrives on the collision of disparate spheres.”
Alex Ross
,
The New Yorker
Musical America
“...The Lord of Cries is a major addition to the canon of new operas.”
George Loomis
,
Musical America
Santa Fe Reporter
“Mark Adamo mines a hitherto academic stance connecting the ancient Greek god of wine to the most penetrating supernatural creature born from the fertile end-of-century Gothic imagination, and presents a libretto grounded in poetic repetition.”
Julia Goldberg
,
Santa Fe Reporter
The New York Times
“Mark Adamo's Little Women is some sort of masterpiece.”
John Rockwell
,
The New York Times
1
cOMPONENT divider
December 18, 2021
"Delightful, albeit unusual, holiday fare... "Becoming Santa Claus'" complex score and clever libretto (with a plot just begging for a Pixar adaptation) were both written by Adamo; though the subject matter is child-centric, Adamo’s dense and vocally challenging score is anything but."
Katherine Buzard
,
Chicago Classical Review
"A minute after the music began, I knew that I was in the hands of a brilliant theatre composer."
Alex Ross
,
The New Yorker
March 21, 2003
“...Little Women is a carefully structured, sophisticated score that finds a workable balance between 12-tone techniques -- many of the major recurring themes are built from tone rows -- and unabashed lyricism.”
Allan Kozinn
,
New York Times
March 26, 2003
“Mark Adamo's Little Women is some sort of masterpiece.”
John Rockwell
,
New York Times
“The composer’s libretto captures much of the grace and fluency of Alcott’s writing…”
Ivittes
,
Gramophone
March 26, 2006
“Mr. Adamo, who also wrote the libretto, invents characters and conflicts and makes the story a richer human drama…”
Anthony Tommasini
,
The New York Times
March 22, 2016
“...delivering more genuine laughs than just about any comic opera since Gianni Schicchi...His amusing, slang-strewn libretto uses the Aristophanes original only as a point of departure.”
Eric Myers
,
Variety
June 7, 2012
“...he has an extraordinary ear for vocal writing and a knack for theater, and has written an engaging, coherent, and beautiful work.”
June 20, 2013
“Adamo has the ingenious knack for creating memorable themes whose recurrences serve as signposts for the drama, and his vocal writing is both urgent and shapely.”
Joshua Kosman
,
SFGate
June 20, 2013
“Mr. Adamo knows how to set English so that the words come through clearly when sung, a technique that too many opera composers struggle with.”
Anthony Tommasini
,
The New York Times
June 24, 2013
“By emphasizing the humanity of its characters – disregarding Christian dogma and supernatural dissonances (virgin birth, miracles, resurrection) – Adamo has located the story’s more universal aspects and created a compelling, dramatic journey.”
Jeffrey S. McMillan
,
BachTrack
July 15, 2013
“...Adamo’s opera, which aims to reconcile sexuality with a Christian life, and which argues for a woman’s right to possess a physical identity without abandoning spirituality, could not have found a more appropriate home than the San Francisco Opera.”
Sidney Chen
,
New Music Box USA
December 5, 2015
“The resulting work is not a “children’s opera”, but a musically sophisticated fantasy, that explores a 13-year old boy’s psyche.”
Will Burnett
,
Opera Warhorses
December 16, 2017
“Even when dizzyingly difficult, the angular vocal lines are singable and memorable—the hallmarks of effective opera whether composed by Mozart, Verdi, Gounod, Wagner, or Adamo.”
Joseph Newsome
,
Voix des Arts
December 7, 2015
“Adamo creates a completely new legend for his Santa Claus and sets a Pixar-esque opera with an explosion of kaleidoscopic music.”
Gregory Sullivan Isaacs
,
TheaterJones
December 8, 2015
“It’s merry, it’s bright, and, in the best possible, most imaginative ways, it is very, very Adamo...Claus’s magical childhood kingdom sparkles with mystery thanks to inventive orchestration.”
Catherine Womack
,
D Magazine
August 2, 2021
“The opera cleverly combines Euripides’ Bacchae with Bram Stoker’s Dracula. If that sounds like solely an intellectual exercise, it actually works well.”
Craig Byrd
,
Cultural Attaché
July 17, 2021
“...a searing account of the monster inside us all.”
Kathaleen Roberts
,
Albuquerque Journal
July 17, 2021
“The Lord of Cries is challenging stuff—a complete theatrical immersion … Contemporary politics and even the world of pandemic we have been living through all seem relevant to one of the basic ideas of the opera—fear of the ‘other.’”
Michael Wade Simpson
,
CultureVulture
August 9, 2021
“The libretto is by Mark Adamo, Corigliano’s husband, who is himself an opera composer of considerable accomplishment... Adamo’s double-layered conceit is a good match for Corigliano’s aesthetic, which thrives on the collision of disparate spheres.”
Alex Ross
,
The New Yorker
July 26, 2021
“...The Lord of Cries is a major addition to the canon of new operas.”
George Loomis
,
Musical America
July 21, 2021
“Mark Adamo mines a hitherto academic stance connecting the ancient Greek god of wine to the most penetrating supernatural creature born from the fertile end-of-century Gothic imagination, and presents a libretto grounded in poetic repetition.”
Julia Goldberg
,
Santa Fe Reporter
March 26, 2003
“Mark Adamo's Little Women is some sort of masterpiece.”
John Rockwell
,
The New York Times
2
cOMPONENT divider
December 18, 2021
"Delightful, albeit unusual, holiday fare... "Becoming Santa Claus'" complex score and clever libretto (with a plot just begging for a Pixar adaptation) were both written by Adamo; though the subject matter is child-centric, Adamo’s dense and vocally challenging score is anything but."
Katherine Buzard
,
Chicago Classical Review
"A minute after the music began, I knew that I was in the hands of a brilliant theatre composer."
Alex Ross
,
The New Yorker
March 21, 2003
“...Little Women is a carefully structured, sophisticated score that finds a workable balance between 12-tone techniques -- many of the major recurring themes are built from tone rows -- and unabashed lyricism.”
Allan Kozinn
,
New York Times
March 26, 2003
“Mark Adamo's Little Women is some sort of masterpiece.”
John Rockwell
,
New York Times
“The composer’s libretto captures much of the grace and fluency of Alcott’s writing…”
Ivittes
,
Gramophone
March 26, 2006
“Mr. Adamo, who also wrote the libretto, invents characters and conflicts and makes the story a richer human drama…”
Anthony Tommasini
,
The New York Times
March 22, 2016
“...delivering more genuine laughs than just about any comic opera since Gianni Schicchi...His amusing, slang-strewn libretto uses the Aristophanes original only as a point of departure.”
Eric Myers
,
Variety
June 7, 2012
“...he has an extraordinary ear for vocal writing and a knack for theater, and has written an engaging, coherent, and beautiful work.”
June 20, 2013
“Adamo has the ingenious knack for creating memorable themes whose recurrences serve as signposts for the drama, and his vocal writing is both urgent and shapely.”
Joshua Kosman
,
SFGate
June 20, 2013
“Mr. Adamo knows how to set English so that the words come through clearly when sung, a technique that too many opera composers struggle with.”
Anthony Tommasini
,
The New York Times
June 24, 2013
“By emphasizing the humanity of its characters – disregarding Christian dogma and supernatural dissonances (virgin birth, miracles, resurrection) – Adamo has located the story’s more universal aspects and created a compelling, dramatic journey.”
Jeffrey S. McMillan
,
BachTrack
July 15, 2013
“...Adamo’s opera, which aims to reconcile sexuality with a Christian life, and which argues for a woman’s right to possess a physical identity without abandoning spirituality, could not have found a more appropriate home than the San Francisco Opera.”
Sidney Chen
,
New Music Box USA
December 5, 2015
“The resulting work is not a “children’s opera”, but a musically sophisticated fantasy, that explores a 13-year old boy’s psyche.”
Will Burnett
,
Opera Warhorses
December 16, 2017
“Even when dizzyingly difficult, the angular vocal lines are singable and memorable—the hallmarks of effective opera whether composed by Mozart, Verdi, Gounod, Wagner, or Adamo.”
Joseph Newsome
,
Voix des Arts
December 7, 2015
“Adamo creates a completely new legend for his Santa Claus and sets a Pixar-esque opera with an explosion of kaleidoscopic music.”
Gregory Sullivan Isaacs
,
TheaterJones
December 8, 2015
“It’s merry, it’s bright, and, in the best possible, most imaginative ways, it is very, very Adamo...Claus’s magical childhood kingdom sparkles with mystery thanks to inventive orchestration.”
Catherine Womack
,
D Magazine
August 2, 2021
“The opera cleverly combines Euripides’ Bacchae with Bram Stoker’s Dracula. If that sounds like solely an intellectual exercise, it actually works well.”
Craig Byrd
,
Cultural Attaché
July 17, 2021
“...a searing account of the monster inside us all.”
Kathaleen Roberts
,
Albuquerque Journal
July 17, 2021
“The Lord of Cries is challenging stuff—a complete theatrical immersion … Contemporary politics and even the world of pandemic we have been living through all seem relevant to one of the basic ideas of the opera—fear of the ‘other.’”
Michael Wade Simpson
,
CultureVulture
August 9, 2021
“The libretto is by Mark Adamo, Corigliano’s husband, who is himself an opera composer of considerable accomplishment... Adamo’s double-layered conceit is a good match for Corigliano’s aesthetic, which thrives on the collision of disparate spheres.”
Alex Ross
,
The New Yorker
July 26, 2021
“...The Lord of Cries is a major addition to the canon of new operas.”
George Loomis
,
Musical America
July 21, 2021
“Mark Adamo mines a hitherto academic stance connecting the ancient Greek god of wine to the most penetrating supernatural creature born from the fertile end-of-century Gothic imagination, and presents a libretto grounded in poetic repetition.”
Julia Goldberg
,
Santa Fe Reporter
March 26, 2003
“Mark Adamo's Little Women is some sort of masterpiece.”
John Rockwell
,
The New York Times
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