The GuardianReview "Rather than large-scale grand guignol, Sciarrino's Macbeth becomes a fragile chamber opera, in which the singers and the instrumental ensemble share an intimate, almost symbiotic relationship, with vocal lines often punctuated by just a single instrument. The elusive soundworld, often on the edge of audibility, is instantly recognisable as Sciarrino's, a wonderfully consistent and compellingly obsessive creation that retains the power to shock and surprise."
