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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. 

 
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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