“A vividly immersive thriller... not a word or note is without purpose, and both are captured, if not enhanced, in this richly produced recording.”

In a Grove provides further confirmation of Cerrone's singular gifts and why he's justly regarded as one of today's leading composers

Steph Power from BBC Music Magazine rates In A Grove with five out of five stars.

The way they create a soundscape in the recording really captures the mysterious and immersive spirit of Akutagawa’s work. It’s immersive, it's compulsively listenable.

In A Grove is an engrossing and complete experience... Cerrone evokes the fragility of memory from the outset... Metropolis articulates his economical writing for nine players with vivid nuance.

In A Grove is vividly produced… not a mere document of the premiere, but a creation of its own, carefully considered for the studio… commanding attention until the end.

Our top pick is “In A Grove.” This is an opera that will linger long in my memory. Now it can find a place in your memory with the release of this album. I love it and can’t wait to see a full production (hopefully sooner as opposed to later).

In A Grove provides further confirmation of Cerrone's singular gifts and why he's justly regarded as one of today's leading composers.

Our new album, In A Grove, is featured at the top of the TIDAL Avant Garden playlist , and also featured prominently on the Classical page in the TIDAL app.

“In A Grove” composer Christopher Cerrone and librettist Stephanie Fleischmann recently spoke with Dave Lake at WRUU in Savannah.

Christopher Cerrone’s haunting opera In a Grove is a good example of how to create something original and modern out of a timeless classic. Cerrone’s atmospheric score is deep and magical.

Chris Cerrone talks about the adaptation process, his favorite Billie Eilish song, the influence of his wife, and how he built an entire opera out of two chords.

Samora Pinderhughes’ Grief mixes gospel harmonies, simmering post-hip-hop instrumentals and wounded balladry, the music shudders with outrage and vision.

It's fascinating listening to this record from Samora Pinderhughes, like how much softness there is to it at the same time. There's real grandeur and range and reach. Grief is a fantastic record.

Pinderhughes' album, Grief, is at the core of the project. The song "Holding Cell," which vividly explores the two questions, imagines letters written by three inmates.

The opening piano notes are barely sufficient warning to brace for the sweet and powerful voices that transport us to Samora Pinderhughes' Tiny Desk (home) concert, shot on film.

Pinderhughes has become a virtuoso at turning the experience of living in community inside-out, revealing all its personal detail and tension, and giving voice to registers of pain that are commonly shared but not often articulated.

Grief aims to evoke feeling through texture and harmony by underlining the human voice as a bonding agent.

The picture Pinderhughes is painting on Grief is a sullen one, calling out the sufferings caused by racial capitalism; policing and prison systems; and oppressive ideologies.

The composer and pianist Timo Andres’s take on the “Coronation” (otherwise known as the Piano Concerto No. 26 in D) felt necessary — not a lark but a surprisingly moving dazzler.