Press

NYTIMES: “Back-to-Back Premieres Defy a Season of Leaner Offerings”:

“There was a breakthrough, however, with “Complainers,” the eighth of about a baker’s dozen songs, sung by Bagg. Hearne’s comparatively spare, effective setting showed off this vocalist’s luminous sound in Lasky’s sardonic poetry, beginning with the line “Some people don’t want to die/Because you can’t complain when you’re dead.”

https://www.nytimes.com/2023/10/29/arts/music/paul-pinto-ted-hearne-song-cycle.html

NYTIMES: At the Philharmonic, New Music for a Changing World: https://www.nytimes.com/2020/02/21/arts/music/new-york-philharmonic-review.html

NYTIMES: “A kind of space goddess, she [Sasha Velour] moves her mouth to the ethereal soprano voice of Eliza Bagg singing Negrón’s poetic text.”

The New Yorker: “In Placek’s ten-minute film, Sasha Velour—the bald and brainy winner of the ninth season of “RuPaul’s Drag Race”—moves about a carefully decorated suburban-style home as she lip-synchs to the vocalist Eliza Bagg’s gossamer singing.”

NYTIMES: https://www.nytimes.com/2023/02/03/arts/dance/the-night-falls-troy-schumacher-karen-russell.html

Lisel

1. The Guardian album review: https://www.theguardian.com/music/2023/feb/10/lisel-patterns-for-auto-tuned-voices-and-delay-review-eliza-bagg

2. Bandcamp Daily interview: https://daily.bandcamp.com/features/lisel-patterns-for-auto-tuned-voices-and-delays-interview

3. Uncut album review): https://archive.org/details/uncut-uk-03.2023/page/n27/mode/2up

4. NPR track review: https://www.npr.org/sections/now-playing/2023/01/05/1147198480/lisel-one-at-a-time

5. NPR album review: https://www.newsounds.org/story/weekly-music-roundup-heavy-joy-oladokun-and-lisel/

“revels in small electro-pop ecstasies that burrow inward (NPR)

“disintegrates her voice into a euphoric, Auto-Tuned goo, emerging from the other side of the abyss an electro-pop alien. (NPR)

“sounds like someone from an alien world examining a Western pop tune, pulling it apart to see its component parts and then putting them back together in a “wrong” but interesting way.” (WNYC)

“fractured, futurist form of pop.” (WNYC)

“Bagg exceeds her previously defined thresholds — which at moments seems impossible considering her already interdisciplinary approach. But by fusing an experimental pop sound with her innovative classical expertise, Bagg has created something truly unearthly.” (Stereogum)

"revels in small electro-pop ecstasies that burrow inward" (NPR)

"She’s leaving room for the complex dualities in our minds... sputtering samples and loops give her idyllic vocals the impression of a program sequenced to perfection." (Billboard)

"The audio version of an optical illusion." (Stereogum)

"simultaneously unearthly and deeply, wonderfully human" (The Fader)

"a lovelorn alien reaching out from the farthest reaches of the galaxy" (Pitchfork)

“She exerts god-tier control over her soprano, approaching her work with the dogged precision of serious classical training." (Pitchfork)

CHICAGO TRIBUNE: AMy Beth Kirsten's Savior with Chicago Symphony 

"Hardly less mesmerizing were the three Joans — sopranos Molly Netter and Eliza Bagg, and mezzo Hai-Ting Chinn — accomplished singing actors whose ecstatic a cappella trio in the ninth section, “Fire,” sung in French, was hauntingly beautiful and dramatically powerful."

Read the full review here. 

NYTIMES: "Review: John Zorn’s Spirit of Restless Invention Flows Forth"

"Music and masonry proved an evocative blend. “The Holy Visions” (2012), a radiant mystery play that reflects obliquely on the 12th-century composer and mystic Hildegard von Bingen, best suited the space. Sung brilliantly by Jane Sheldon, Eliza Bagg, Sarah Brailey, Rachel Calloway and Kirsten Sollek, Mr. Zorn’s original Latin text and his propulsive, occasionally abstruse music related to each other only enigmatically." - David Allen, The New York Times (June 5, 2015)

Read the full review here.