... a strong piece of new music for orchestra and live electronics from Argentina's Oscar Edelstein which the Sinfonietta premieres. The rhythmical, multilayered sound fields develop like waves. Edelstein’s close woven music, continuing the tradition of Edgar Varèse, has a force which goes under the skin with great vitality.

The electronic part takes the game of the orchestra into another space, another world, another sound universe,like a dream,like a recollection, or how it looks through a kaleidoscope, a prism with various refractions. A powerful percussion mechanism machine was in action, concentrated beams of sound of stream over the listener.It was exciting to hear such avant-garde new music from Latin America.

An unpredictable journey around a class of sonorous poetry… From the most tenuous & crystalline, up to the real explosion, it’s a fundamental disc, for its importance & originality but, especially, for its power of communication.

… cult, absolutely original, ultra-powerful & new.

It's musical in physical sense, authentic dithyrambic music, realized simultaneously with milimetric precision by the Ensemble that Edelstein directs like one possessed.

Edelstein's original music pushes the line between classical, contemporary and popular genres, and opens new windows of sound and expression.

[Edelstein] possesses a formidable pianistic technique…

Taking inspiration from myriad genres, the composer-cum-director-cum-pianist is one of the most innovative musicians around.

...the show captivates because it’s carried out by a group of notable artists that demonstrate in every movement to have worked on a delivery seldom seen on the stage.

The textural work of the ENS gives witness to how they have metabolised “Atmosphères”[Ligeti] making it seem aged. The enveloping dynamic crosses the space and generates its own discourse. The notation of the composer isn’t a code on paper. He “writes”, a kind of ideogram, over the body of the interpreters, who through their instruments and a base of arduous rehearsals, translate a protocol of signals designed by Edelstein. This language is essentially theatrical. The conductor uses the hands and the body as if they were connected with the musicians through sensors. “The ENS like a new instrument in itself requires and needs new instrumentalist, who also must be trained in a new way of playing”, says Edelstein.

A true opera.

The collision of two musical planets.

Raúl Barboza and Oscar Edelstein realize a project together that breaks barriers, genres and prejudices.

With the ENS, Edelstein has found an "instrument" capable of making electro acoustic music,but with a blood like grip. The complex polyrhythmic textures and tímbres are the platform to launch the exploration of the spacein three dimensions, an obsession that, now, Edelstein can register in a top format...

To develop this new musical battle between creation and technology [Edelstein] can count on an invincible instrumental fleet, the ENS.

The choice of instruments can be easily associated to the world of rock, but it is only a sound-colour as the group is impelled by Edelstein to explore zones that go much further, for example, than the advanced experience of Robert Fripp.

One of the most original experiences and hardest to classify in the current musical scene.

A truly experimental work that opens new horizons for the musical theatre in Argentina.

The theatrical idea is deep and the musical realization is fascinating...with his radical denial to remain stylistically classified.

If something defines the musical production of Edelstein it is the monumental character and the complexity of his discourse.

A revolutionary group in more than one sense… one of the most important musical events of Argentine production of last times.

On stage were the Ensamble Nacional del Sur, a group of composer-instrumentalists, who can travel from contemporary music to jazz and rock... a truly experimental work that opens new horizons for musical theatre in Argentina and that takes the work of the ENS to a higher point, having internalized the complex sonorous textures that Edelstein proposes...

One of the most interesting composers of the intermediate generation... [with an] obsession for complex sonorous textures and a careful control of the form are present... if something defines the musical production of Edelstein it is the monumental and complex character of his discourse The multiplicity of readings and approaches that his work permits means that the mere description of their components only partially reflect his sonorous universe... in an hour of music without breaths or concessions the work of the members of the ENS was really outstanding.