Karjaka - Tian Jin - Han Dan Day 1-6563

“The arrangement by conductor/composer Nicholas DeMaison—who slimmed down Milhaud’s score into a winning version for 13 players—was a natural fit for the circumstances. The sound was full, …adding an invigorating vibe to the experience of being outside a traditional opera house…Working on a small scale enabled the entire cast to project without belting, maintaining intimacy.”

Review of the US Premiere of Milahud’s La Mère Coupable in Muiscal America
13-player arrangement created for On-Site Opera and ICE

“Nicholas DeMaison ably conducted these instrumentalists and the remarkable vocalist Amanda DeBoer Bartlett. They gave disciplined and committed performances of all three works.”

Review of The Music of Sciarrino at EMPAC in Schenectady Daily Gazette

Conductor Nicholas DeMaison drew shifting, vibrant colors from the accomplished orchestra and was sensitive to the singers”

Review of The Astronaut’s Tale in Opera News

“The fine score is by composer Nathan Davis, played by members of ICE and sung by mezzo-soprano Katalin Károlyí and tenor Peter Tantsits, along with girls of the Brooklyn Youth Chorus. All the musicians were led with assured clarity by conductor Nicholas DeMaison…At its finest, Hagoromo is stunningly beautiful.”

Review of Hagoromo premiere at BAM Harvey in New York Classical Review

“A minimal wooden stage, dimly lit, began to pulsate with trance-like energy in Part One – The Heavens, as ICE’s syncopated drumming and tranquil percussion permeated the room with a vibrational hum (capably conducted by Nicholas DeMaison).”

Review of Hagoromo premiere at BAM Harvey in

“…if you hadn’t heard of it before…you must know about it now.
…in the world of contemporary music, they are in a class of their own.”

Review of Ensembles Sospeso’s concert, “The Machine Breathes” at the DiMenna Center for Classical Music in Concerto Net

“Nicholas DeMaison … and flutist Amelia Lukas performed with grace and solemnity, holding the audience in breathless suspension for the entire three hours. Mr.DeMaison displayed fluidity and dexterity, and his voicings of Feldman’s trance-like chords were spine-tingling.”

Review of Ensemble Sospeso on the Darmstadt Essential Repertoire Series at Issue Project Room in Feast of Music

“Lukas and DeMaison never once let up their focus or weakened in energy. With their intricate understanding, they crystallized each detail…their sense of extended phrasing helped thread the parts together into an organic whole.”

Review of Ensemble Sospeso on the Darmstadt Essential Repertoire Series at Issue Project Room in Seen and Heard International

“…consistently invigorating…”

Review of Ensemble Moto Perpetuo’s debut concert at the DiMenna Center for Classical Music in New York Times

“…enchanted…the ensemble offered delightful intimacy, as if they were singing in your own living room”

Review of Pocket Opera New York’s Le Pauvre Matelot at Fraunces Tavern in Seen & Heard International

“faster and blippier…smooth-versus-screechy…both ominous and playful at the same time”

Review of ’46’ on Dark & Stormy’s debut concert in Lucid Culture

“A thrilling contrast to Lyric Opera and Chicago Opera Theater…Opera Cabal exhibits the audacity and daredevilry rarely found in anything calling itself ‘opera’ these days.”

Review of Opera Cabal’s “USW” by Lewis Nielson in Time Out Chicago

Chicago’s “most daring and avant-garde” opera company, Opera Cabal “aspires to bulldoze opera’s definition”

Chicago Magazine Feature Article on noteworthy opera companies in Chicago

“[DeMaison’s] production takes its audience on a wild, compelling, multimedia ride”

Review of Opera Cabal’s “USW” by Lewis Nielson at Galapagos Art Space in Time Out New York

“…emotionally provocative…”

Review of Black Wheels (3 sides square, performed by Opera Cabal at Galapagos Art Space in Time Out New York

“[Florilegium Chamber Choir’s] singing was uniformly powerful”

Review of Florilegium Chamber Choir’s Berliner Messe in

“DeMaison held the clicking woodwinds and string harmonics together well, and is the only conductor I know of with four earrings in his left ear

Review of Opera Cabal’s Collusions Festival in Deceptively Simple