- The Guardian interview with Missy: “Opera is a place for big ideas” (read the full article)

- HOW DIY OPERA COMPOSERS REINVENTED A GENRE: feature article on Missy Mazzoli and David T. Little (read the full article)

Critical acclaim for Missy's third opera, Proving Up:

-"The music of Missy Mazzoli is a treat in and of itself and that is especially the case in collaboration with Royce Vavrek. It's a rarity to see a tale set in Middle America and a welcome and much-needed addition to contemporary opera. To experience "Proving Up" is to see an American story nearly never told: one of the failure of its promise." - OperaWire

-"Brilliant" - Musical America

-"Ms. Mazzoli's expert score" is "ominously insinuating and brutal by turns." - Heidi Waleson, Wall Street Journal

 (read the full article)

- "There is no better way to illustrate how hard it is to achieve the American Dream than to detail the struggle of homesteaders who desperately want to attain a farm deed on the unforgiving Plains. This production achieved that with excellence." – Omaha World Herald, review of Proving Up, April 2018

Proving Up is "harrowing...powerful...a true opera of our time." – Washington Post (read the full article)

- Missy Mazzoli is “Brooklyn’s post-millennial Mozart.” – Time Out New York. (read the full article)


- “Missy Mazzoli’s Harp and Altar [for the Kronos Quartet] offers further evidence that she is among the more consistently inventive and surprising composers now working in New York.” – The New York Times (read the full review)

-"Little of [Missy Mazzoli's] music has been heard on this side of the Atlantic, but the European premiere of Sinfonia (for Orbiting Spheres) may well change that. Inspired by the shape of the solar system, it unfolds in slow-burning loops – with imaginative use of keyboards and percussion." - The Independent (London) reviewing the European premiere of Sinfonia for Orbiting Spheres performed by the BBC Symphony on the 2017 BBC Proms at Royal Albert Hall

-"Missy Mazzoli's "Breaking the Waves" is savage, heartbreaking and thoroughly original"– Heidi Waleson from the Wall Street Journal

-Breaking the Waves stands among the best 21st-century American operas yet.– David Shengold, Opera News" (read the full article)

-It is not easy to find new operas that command attention, tell their story lucidly and create a powerful, permeating mood. Dark and daring, "Breaking the Waves" does all this with sensitivity and style." – Zarchary Woolfe, The New York Times: (read the full article)

-a powerful, fully realized, artistically significant piece...if you believe the only depressing art is bad art, Breaking the Waves is exhilarating– David Patrick Stearns, Philadelphia Inquirer

-The most startling and moving new American opera in memory – Albert Innauato, Parteere Box

-Missy talks about Breaking the Waves on NPR

-May, 2016: “a striking musical/visual rendering” of Isabelle Eberhardt’s life – Elaine Schmidt in a review of "Song From the Uproar", Milwaukee Journal Sentinel

-April, 2016: "But the most unforgettable glimpse of beauty here comes from composer Missy Mazzoli, whose “Orizzonte” is a still-voiced meditation on eternity, with a subdued yet haunting layer of electronic sounds overlaying the piano writing." - Joshua Kosman, San Francisco Chronicle

-October, 2015: “[Mazzoli’s] wonderful score is seductive, meditative, spiritually elusive and subversive. With it, we can welcome a new natural for the art form.   And now all eyes and ears are on Mazzoli's next, larger and more traditional opera slated first for Philadelphia Opera and based on Lars von Trier's film "Breaking the Waves.” – Mark Swed, LA Times

-October, 2015: Missy Mazzoli “has been pushing through the cracks of contemporary classical music with an ear toward less stodgy sounds...quietly revitalizing the form from the outside in.” 5 Everyday, Los Angeles, CA

-October, 2015: Missy featured in Opera News as a "rising star." Opera News

-April, 2015: “Of all Monk’s friends and “friends,” composer Missy Mazzoli came closest to internalizing her spirit when she arranged a medley of two wildly different works composed 35 years apart. In the original “What Does It Mean?” from the 1970 album Key, Monk bangs out obsessively basic keyboard patterns and vocalizes, alternating between chipmunk squeals and guttural rasps. The luminous neo-medieval “Passage,” from the 2006 work Impermanence, is as glossy and seamless as the earlier piece is muscular and rough, but they share a lot of DNA. They both strip music down to an agile descant over a ground bass, intimate meanings encrypted in stray syllables, and conjure up a vivid physical space—a vaulted crypt, say, that coats the voice in reverberant shellac. Mazzoli found the common spirit in those two disparate pieces, translating a kaleidoscope of vocal hues into an instrumental watercolor. Monk has said that she realized in the mid-1960s that the voice could be an instrument, containing sonic multitudes. It took her another few decades to treat instruments like voices. Mazzoli, who handles both with flair and sensitivity, found a way to express Monk’s discoveries of these long-standing truths.” – Justin David, New York Magazine

-March, 2015: “The composer and keyboardist Missy Mazzoli has a thing for unlikely connections and startling gestures, and one of her gifts is the ability to tease out the hidden logic behind her choices. Her ravishing, unsettling album “Vespers for a New Dark Age” unfolds as a meditation on technology and spirituality, alienation and self-interest.” – Nate Chinen, The New York Times

-March, 2015: "Music that once sounded like the lonely movement of your own thoughts now calls out to you in a voice of its own. The singers are bell-clear and troubled, like Julia Holter if she suffered insomnia." – Jayson Greene, Pitchfork.com

-March, 2015: “Mazzoli’s ensemble Victoire, cleverly orchestrated, provides settings both cinematic and intimate at once, while Wilco drummer Glenn Kotche adds evocative scrims of percussion and some thunderous pounding.” – Thomas Huizenga on NPR’s First Listen

-March, 2015: “Casts a powerful spell…Mazzoli has fashioned an engrossing classical-electronic-vocal epic that sounds like the product of a much larger ensemble than the chamber-sized one it actually is.”Textura review of “Vespers for a New Dark Age”

-February, 2015: “Missy Mazzoli, has become nearly ubiquitous over the last decade. Her performances with Victoire – an ensemble that, depending on your point of view, is an art-rock band, a live electronic music group, or both – have been consistently enlivening. Her first opera, Song from the Uproar (The Lives and Deaths of Isabelle Eberhardt) (2010- 12), is a quirky, inviting high-tech score, in which graceful vocal lines are offset by sharp-edged neo-Classicism, post-Minimalist rippling, a touch of rock instrumental textures, and a video component by Stephen Taylor.” – Allan Kozinn, MusicalAmerica.com

-January, 2015: “Missy Mazzoli’s alluring “Isabelle Eberhardt Dreams of Pianos"… meshes evocative wisps of Schubert into a turbulent, digitally enhanced soundscape.” – Vivien Schweitzer, New York Times, review of Shai Wosner’s CD, featuring Schubert and Mazzoli

-December, 2014: “Curiously addictive…using simple musical materials – a plaintive melody over gently rocking, repeated notes and occasional chordal exclamations in the bass register – Ms. Mazzoli conjures nostalgic longing in her own 21st century-voice.” – Barbara Jepson, Wall Street Journal, review of Shai Wosner’s new CD featuring Isabelle Eberhardt Dreams of Pianos

-August 2014: “’Still Life With Avalanche’ has been seen before here, but the two-section dance now sports a new coda by ODC Artistic Director Brenda Way. The participants are two men (Dennis Adams, Justin Andrews) and one woman (Anne Zivolich), all drawn to and frozen by bars of light on the floor. The men favor unisons; Zivolich squiggles all over the place; and in Way’s sensible addition, they finally interact. The addition of a thrilling Missy Mazzoli score keeps it all percolating.” – Allan Ulrich, The San Francisco Chronicle, review of dance piece choreographed by Kate Weare to Still Life With Avalanche

- May 2014: “Mr. Ax also gave the New York premiere of another work commissioned for his Brahms project: “Bolts of Rolling Thunder,” by the young American composer Missy Mazzoli. The piece is a five-minute, organic, roiling mass of sound, with thumping bass lines, oscillating figures in the piano’s midrange, and a right-hand element that keeps leaping from plunky low tones to celestial high ones.” – Anthony Tommasini, The New York Times, review of Emanuel Ax at Carnegie Hall

- April 2014: “Mazzoli’s is music not so much of, as out of, the spheres. Strings and winds swirl and swoon, sliding magically around pitches. There is no pulse, no thousand points of starlight, rather the motion of waves. She manages to squeeze in the hurdy gurdy without ever losing the sensation of gorgeous celestial bodies in the ether.  The Sinfonia lasted 14 minutes and came near the end of a long concert that went to midnight. But this is music for a long night that never ends.” – Mark Swed, Los Angeles Timesreview of world premiere of Sinfonia for Orbiting Spheres with the LA Philharmonic New Music Group

- March 2014: “In Breaking the Waves, based on the von Trier film, Mazzoli’s voice is like a 21st-century refraction of the Smetana/Janacek nexus, conveying the under-the-surface repression in the small-town community.” – David Patrick Stearns, The Philadelphia Inquirer. - Ears wide open here in the new Brooklyn

- February 2014: “Mazzoli’s compositions have been nothing but excellent, powerful and thought-provoking, and Saturday night’s premiere of “Vespers for a New Dark Age” continued the stream of works by Mazzoli that leave you in awe.” – Stephanie Orentas, Baeble Music. (review of Victoire and Glenn Kotche’s Ecstatic Music Festival concert at Carnegie Hall)

- February 2014: Pitchfork premiere of Victoire’s A Thousand Tongues: “the most striking and uncanny music Victoire have ever made.” – Jayson Greene

- January 2014: “Engrossing…’Bolts of Loving Thunder,’ an eight-minute piano showpiece by Missy Mazzoli, is a particularly fond and inventive homage to Brahms’ distinctive keyboard style.” – Joshua Kosman, San Francisco Chronicle (review of Emanuel Ax’s “Brahms and Beyond” concert)

- October 2013: Cincinnati’s CityBeat – “Mazzoli’s music defies boundaries.”

- June 2013:  “Mazzoli has been widely recognized for an omnidirectional aesthetic that marries her highly refined classical music roots with vernacular influences and a kind of indie-rock identity and attitude… a pulsating post-minimalist rhythmic ground and gleaming, metallic orchestral colors, including savvy use of vibes and piano, captured the energy and motion of machinery. Mazzoli layered into the mix darting melodic gestures, brass chorales and percussive snaps of pizzicato strings and drums.” – Mark Stryker, Detroit Free Press (read full review)

- May 2013: Detroit News –  Detroit plays the muse for New York composer’s ‘Rouge River Transfiguration’

- May 2013: Song from the Uproar reviewed in Gramophone magazine!

- May 2013: “Ms. Mazzoli deftly uses repetition to build up the listener’s expectation and sly wit to dash it, though she also serves up measured portions of real beauty.” – Corinna da Fonseca-Wollheim, The New York Times review of Kronos Quartet at Carnegie Hall

- April 2013: “Missy Mazzoli’s Heartbreaker (played by Sara Daneshpour) was the shortest and edgiest, and the most satisfying musical experience…” – Laurence Vittes, Huffington Post blog review of American Pianist Association’s 2013 competition

- April 2013: Swiss NPR – Missy Mazzoli’s Song from the Uproar

- February 2013: Cleveland’s The Plain Dealer – Missy Mazzoli’s Victoire performs at Cleveland Museum of Art

- January 2013: PopMatters – 20 Questions for Missy Mazzoli

- December 2012: Song from the Uproar included in The New Yorker’s Memorable Performances of 2012, by Alex Ross

- December 2012: “After years of growing up in public, Missy Mazzoli’s dreamlike opera lived up to great expectations and made a star of Abigail Fischer.” – Song from the Uproar named #3 on Time Out New York’s Best Events of 2012, by Steve Smith

- December 2012: “Mazzoli is a star of the indie classical world, walking the uneasy ground between the avant garde and rock with a style that’s ethereal and hypnotic yet often wary and brooding.” – New York Music Daily (read the full review)

- December 2012: “The whole is enveloped in the pulsing bursts and cantilevering melodic lines that make Mazzoli one of the most distinctive and immediately recognizable stylists among the ‘rising New York composers.’” – Song from the Uproar included in A Fool in the Forest’s 48 Favorite Albums of 2012

- December 2012: “Mektoub (It is Written),” from Song from the Uproar included on Brooklyn Based’s Listening Back on 2012

- December 2012: “You Are The Dust” from Song from the Uproar included in I Care If You Listen’s Winter Mixtape

- December 2012: Song from the Uproar original cast recording included in Rhapsody’s Top 20 Classical Albums of 2012

- December 2012: Song from the Uproar original cast recording included in WQXR’s Operavore Holiday Gift Guide

- December 2012: “Mazzoli possesses a startlingly original imagination plus superb command of vocal-and-instrumental interplay. Song from the Uproar is the latest in what’s, frankly, been a rather staggering run for the New Amsterdam label.” – Textura (read the full review), also included in Textura’s Top 20 Albums of 2012

- November 2012: “Not so much opera as distillation, Mazzoli’s version of Eberhardt’s short, memorable life is a marvel of compact complexity itself.” – eMusic, Richard Gehr (read the full review)

- November 2012: “Solid gold…flowing from one number to the next, the music tells its own story, building to a series of emotional climaxes with the narrative assurance of a bonafide opera composer.” – Review of the original cast recording of Song from the Uproar, WQXR, Daniel Stephen Johnson

- November 2012: Missy Mazzoli’s Violent, Violent Sea “is a beautiful, moving and memorable 10-minute score.” – LA Times (read the full review)

- October 2012:  New York Times review and the New York Post review of SALT, performed on the 2012 BAM Next Wave Festival

- July 2012: The New York Times calls Victoire’s recent show at the River to River Festival “invitingly quirky”, “evocative and alluring”. (read the full review)

- May 2012: Review of Missy Mazzoli’s new orchestral work, Holy Roller: “Missy Mazzoli’s Holy Roller, which received its premiere, was “devotional music for a non-existent religion.” Though her worshipers were imaginary, Mazzoli built them a grand and solid cathedral. The score was a glittering mosaic with arched and winding passageways.” – ArtsTalk Blog, Albany NY

- March 2012: feature article in the Philadelphia Inquirer Sunday Arts Section:
Missy Mazzoli: From Lansdale to Music’s Cutting Edge
“…what she does is so entrancing, you can’t imagine any alert denizen of the 21st century not being drawn in.

- March 2012: Missy Mazzoli’s Song from the Uproar is “a masterpiece of modern opera” – icareifyoulisten.com

- March 2012:  Song from the Uproar is “powerful and new”. – Wall Street Journal (read the full review)

- March 2012: “in the electric surge of Ms. Mazzoli’s score [for Song from the Uproar] you felt the joy, risk and limitless potential of free spirits unbound” – New York Times (read the full review)

- March 2012: “Five stars” – Time Out New York review of Song from the Uproar (read the full review)

- February 2012:  Missy Mazzoli’s opera Song from the Uproar is critic’s pick in New York Magazine.

- January 2012: Missy and Victoire featured on Bed-Stuy Public Access TV!

- June 22, 2011: Missy Mazzoli’s Violent, Violent Sea is “beautifully constructed…alluring” – The New York Times READ THE FULL REVIEW

- May 2011: Feature Article in Washington Post: “Missy Mazzoli has a different take on classical music, and people are listening.”

The New York Times review of Missy’s May 2010 concert at Roulette (NYC)

“Missy Mazzoli’s ensemble Victoire condenses moments of focused beauty and quiet conviction from the pandemic distractions of modern life. 7.8″ – Pitchfork (READ THE FULL REVIEW)

- Victoire’s Cathedral City named “one of the top 10 classical albums of 2010” – NPR

- Victoire’s Cathedral City is “one of 2010′s most memorable albums.” – Alex Ross, The New Yorker

- Victoire’s Cathedral City is “one of the top 10 classical albums of 2010″ – Time Out New York

“Every once and awhile an artist/ensemble creates a sound so vast and original that all you can say about it is that it “defies categorization,” that fail-safe phrase that more or less means open you ears, open your heart and let the music in. Victoire’s new album Cathedral City deserves such a phrase.” – New York Examiner

“Ms. Mazzoli is going places fast. Bank on it.”– The New York Times. (read the full article)

Missy on the NPR Blog, writing about dinner dates with dead composers

-”One of the most sought-after young composers in the country”  – South Carolina Free Times (read the full article)

- June 2009: “Missy Mazzoli’s “I Am Coming for My Things” and “Like a Miracle,” performed by her ensemble, Victoire [at the 2009 Bang-on-a-Can Music Marathon], danced between modernist pointillism and (in the arching clarinet and violin lines) rich hued Romanticism.” – The New York Times

- June 2009: “[Song from the Uproar is] a haunting multi-media concert piece…live performance and video fused with unusual potency.” – The New York Times

- October 2007: “Missy Mazzoli, of Brooklyn, introduced her “These Worlds Within Us,” which turned out to be powerful and full of drama.” Jim Kershner, Spokane Spokesman, review of a concert by the Spokane Symphony

- June 2007: “[Magic with Everyday Objects] one of the great surprises of the 2007 Bang-on-a-Can Marathon.” John Schaefer, New Sounds Live

- June 2007: “NOW Ensemble offered highly attractive, unabashedly rock-influenced works by Mark Dancigers, Missy Mazzoli and Judd Greenstein.” Steve Smith, The New York Times

- January 2007: “Mazzoli has a gift for both nervous, complicated rhythm and yearning, sustained melody, especially for strings. Sonic invention ranges from electronic ringing to piano arpeggios that could have been cadged from Rachmaninoff. In all cases, clear dramatic arcs pulled together wide-ranging sounds and musical elements. Mazzoli builds and releases tension in ways Aristotle would have recognized.” – Tom Strini, Milwaukee Journal Sentinel

- December 2006: “The interviewer, when asked his preference, singled out Missy Mazzoli’s These Worlds In Us, and conductor Osmo Vanska muttered assent.  The Mazzoli piece also seemed to be a favorite of the audience, to judge from the applause of all 900 listeners who turned out.” – James R. Oestreich, The New York Times, review of a concert by the Minnesota Orchestra