Deep drums and suburban grit
"...Gribbin has remarkable harmonic colouristic confidence, and an infallible instinct for effects. The aurarl spells she weaves with her juddering cello figures, er deep drums and knocking stones, her bat squeals, her rolling over and over glissandos or little trills and burrings are quite hypnotic."
2 July 1998, The Evening Standard
A Week in music
"It is a retelling of the Persephone myth relocated to Glasgow and that great city gives its all by way of two-timing ex-husbands who sing falsetto, women who say “shite, fuck, Jesus” as soon as they look at a man...
Accordion, harp electric-guitar, trombone; transparent violin harmonics, whispered instrumental tickles, sliding whistles, the eerie on-the-spot drum trick: the batterie de cuisine, and the various noises whipped up by it, for this small-scale opera was impressive. The score pattered with life and interest and intriguing sounds was often ravishing..."
10 July 1998 New Statesman
Refreshing modernity topped off with a steamy melodrama
"Alongside the clatter of broken glass and the gasps of orgasm, there are some beautifully woven instrumental and a sprinkle of delicious little aural surprises. The drama is well-paced and the vocal line expressive. Gribbin is an original composer who doesn’t fall back on borrowed tricks….This is an intriguing and entertaining piece, freshly acted and blessedly free of modern opera’s usual vices and pretensions."
5 July 1998 The Daily Telegraph
"...I didn’t realise quite how strong Gribbin’s instinct for pacing, balance, vocal melody, and all the other issues that feed into opera. Hey Persephone! Is her first stage commission. On the strength of it, she won’t have long to wait for number two."
12 July 1998 The Independent on Sunday