One of the finest new music ensembles in Australia, lauded for their virtuoso precision, innovative programming, and the ability to connect viscerally with their audiences. 

The ensemble was placed in a position of authority over the actors, whether as servant-carers in ‘Miss Donnithorne’s Maggot’ or as soldiers in ‘The Apology of Bony Anderson.’ Having now seen such a performance in the Salon, a room in which every twitch of a musician’s face is clearly visible to the audience, I cannot imagine a chamber opera any other way.
— Matthew Lorenzon, Partial Durations