Review of Z'VI performance, by Allan Kozinn, New York Times
Concert preview in The Woodstock Times, November, 2004
Praise for premiere of Z'vi
Mark Swed, Los Angeles Times, April 28, 2003
"There were also excerpts from Richard Teitelbaum's "Z'vi", an opera about the 17th century false messiah Shabbetai Z'vi, which will receive its premiere at the Venice Biennale this summer. It included two Arab musicians, a cantor, the sensational clarinetist David Krakauer and an elaborate electronic setup operated by the composer. This breathtaking score -- in which Krakauer and Jacob Ben-Zion Mendelson, in full cantorial robe, engaged in a heartwarming duet of Sufi music with Omar Faruk Tekbilek, transcended acoustics altogether. Here Sosnoff's immediacy put magnificent musicians in our laps, creating an overpoweringly visceral effect of barriers being broken."
The Wire Magazine, London, England, January 2003
Blends (New Albion) named one of ten best CDs of 2002 in Contemporary Composition category
Reviews of Blends in Signal to Noise Magazine, The Wire, etc.
Reviews in The Wire, etc.
The New York Times Sunday Arts and Leisure Feature, May 13, 2001 A Style of No Style That Spurns All Constraints, by David Toop
"Cage's open attitude about the intrinsic qualities of sound proved to be a huge influence on a generation of composers and musicians who made their mark in the 1960's. The composer Cornelius Cardew, the electronic musician Richard Teitelbaum, the film composer Ennio Morricone and the dance-bad guitarist Derek Bailey all turned to free improvisation, rejecting harmony, melody and regular rhythm. Largely based in Europe, the groups in which they played--AMM, MEV, Nuova Consonanza, SME and Music Improvisation Company--invented a new way of organizing sound in the moment, without preparation or written scores."
Richard Teitelbaum, feature article in Jazz Magazine (Paris) by Gerard Rouy, spring, 2001
for Richard Teitelbaum composer/performer of "Golem"
The Boston Globe
"Inventive, free and funny and charged with adrenaline."
The Miami Herald
"Powerfully original music."
"Richard Teitelbaum, enlightened explorer of the synthesizer and the
first true musician of the instrument."
The New York Times
"The synthesizer is Mr. Teitelbaum's chosen instrument, and he plays
it or rather them, because he uses a battery of synthesizers and
other electronic gearas expressively and musically as a concert
violinist or jazz saxophonist. In this regard, he seems virtually unique.
A number of musicians use the sythesizer effectively, but nobody in
this reviewer's experience plays it with the grace and delicacy of Mr.
"The most creative improvising sythesizer soloist in contemporary music."
"A fascinating dialogue between man and machine."
"Teitelbaum, whose background includes both classical music and improvised
jazz, is one of those rare individuals with the tasteful sensibility
to recognize the beauty of his sythesizer and the technological expertise
to intelligently employ it. He utilizes electronics to liberate his
musical ideas, freeing them from the technical limitations inherent
in performing on traditional instruments."
International Acclaim for "Golem"
"...Richard Teitelbaum's interactive opera Golem
was the most exciting artistic contribution to this year's Ars Electronica".
The Independant, London
"...Saturday night's centerpiece was the
premiere of Richard Teitelbaum's memorable 'Golem,' the most dazzling
new multimedia piece of the festival. A labyrinth of live music with
interactive computer system, projections, and film footage, 'Golem'
spins off the theme of a soulless life-force and the threat of technology
taking over in the age of virtual reality...."
La Presse, Montreal
"Among the best-liked elements of this extraordinary
happening of the avant-garde music scene was the visual dimension of
Jazz in Time, Montreal
"Enchanting and hypnotic; leaves one shaken and moved."
The Gazette, Montreal
"...Teitelbaum's multimedia biblical allegory...was
thought-provoking.... "Unleashed in the Cinema Laurier Saturday night,
the 'Golem' was an intriguing metaphor for technology run amok, pitching
live players against computer software imbued with artificial intelligence...."
Die Zeit, Berlin
"Teitelbaum's 'interactive opera' [Golem]...adventurously combines the
strict logic of the computer world with the Jewish secret science. It
reflects a kind of direct joy in the overwhelming load of stimuli from
the era of video clips. The work is also marked by a way of using the
most heterogeneous styles which leaves one breathless: avant-garde free
jazz, synthetic sound realism, 'musique concrete,' the experimental
nerve of Charles Ives or the untamed gestures of the New York noise-pop
musicians, even the works of Iannis Xanakis."