IN PROGRESS PLEASE BE PATIENT
IN PROGRESS PLEASE BE PATIENT
Sibyl Kempson, 12 Shouts to the Ten Forgotten Heavens: Fall Equinox, September 21, 2018, at the Whitney Museum of American Art. Photograph © Paula Court
'Milica Paranosic plays Mary Magdalene, the star of the show–strong, wild, confident, and sexy. She commands the stage as the audience enters, telling her story in her own words, reclaiming her existence as an independent agent. She speaks about her time in the cave, after Jesus' departure. She performs two songs, first playing a guitar, and then a gusle–a single string bowed instrument traditionally meant to be played only by men.'
- Greta Hartenstein, senior curatorial assistant, Whitney Museum of American Art
'As the lights went down, a childlike song sounded out from a back room; a chunk of Rieppi's massive kit was moved out to center stage, where he kicked off an undulatory beat. This, I surmised, was the segue to Paranosic's Root. The ensemble, all singing, processed back out to the stage area, where Rieppi's drumming took on the ebb and flow of a grandstanding hard-rock drum solo. Cellist Claire T. Bryant strapped on a bass guitar, actor Holter Graham picked up an electric guitar, and suddenly, the entire ensemble -- Prestini and Paranosic included -- pogoed wildly to a genuine punk-rock blurt. It was as surprising a moment as any I've ever seen during an ostensibly high-art presentation, and one that could only have been pulled off by a composer for whom punk rock was a fact of life, as opposed to a sensation borrowed on the cheap.'
Steve Smith, TONY
“As an organization with a strong living cultural heritage, we are very excited to promote Milica’s piece. The way Milica brings a story to life giving you a pallet of visuals through all aspects of sound is truly inspiring. The creativity and authenticity that emanates from her work reflects LVMH’s Art de Vivre values.”
- Renaud Dutreil, Chairman of LVMH Inc. in North America
"... music with a symphonic edge, intense orchestrations, playful pastoral scenes, and interesting vocalizations a la Laurie Anderson." - Jerry Kranitz, From Aural Innovations #23, 2003
"... jazzy and avanguardish experimental work with a vivid folk heritage." Marc "the MEMORY Man" Urselli-Scharer, www.chaindlk.net, 2002
"Despite being discordant and jarring this is both atmospheric and exotic." - John M Peters, MusicWatch: Electroshock Records, 2002"...
a painter, a music Jackson Pollack, dribbling her sounds in fascinating and personally unique layers. - Eric Somers, SEAMUS, 2001"
... the most captivating piece on the program." Allan Kozin, New York Times, 2002
…free-wheeling performance-art-type cat - Kyle Gann...
edgily comical - Klaus Klingbeil Der Lausitzer Rundschau Germany
…amazing….astonishing… - Jack Anderson New York Times
…like liquor filled pralinés. … - Von Martina Helmig Morgenpost Germany"
Always genuine and always inventive" - - Olivia Giovetti, April 06, 2011
"The world premiere of "I am a Bird" by Milica Paranosic (Serbia-USA) was oneof the brightest moments of the II Festival de Música ContemporâneaPPGMUS-UFBA (2nd Contemporary Music International Festival PPGMUS-UFBA) inSept. 2008 in Salvador, Bahia, Brazil.T his great multi-instrumentalist has a fabulous and exquisite sense of sound and time as well as of space and light, that took away the entire audience´s breath with her boldly way of integrating the different elements she "constructs" her delightful performance. I say "constructs" and not compose because of the inter-disciplinary approach of her creational process and results. Paranosic is one of the most sensitive, finest and outstanding artists the world has ever seen."- Pablo Sotuyo Blanco, Composer, Curator II FIMC PPGMUS-UFBA Salvador Bahia, 2008
"All this fine strangeness is made to work by the wonderful music of Griffin's collaborator, Milica Paranosic, who also performed it on stage. When the curtain first rises, you see what appears to be a body floating at an angle upstage in the dimness. It turns out to be Paranosic, reflected in the raised lid of a grand piano as she reaches into its innards and claws the strings into emitting otherworldly sounds. After a while she begins to play in a more conventional manner, and that music is augmented with electronic sounds. Sometimes she blows whistles and something that may have been a large shell. I loved this music, and at times her performance was more compelling than that of the dancers!"- Kate Dobbs Ariail, "Keenly-Anticipated ICCP Doesn't Disappoint", 2005
“Grand Harlem saga, with kaleidoscopic nature of cultures, their memorabilia, and unique synthesis of traditional and popular genres”- Zorica Kojic, Danas, Oct 2007
"ComeCryWithMe, as one might expect, is an emotionally charged work. Milica Paranosic has created quite a compelling world. Ms. Kimura’s approach to the recording is quite innovative. She has improvised several different paths through the piece and then layered them on top of the emotionally direct soundscape created by the computer. The end result is visceral and haunting."Jay Batzner in Bridge Records, CD Review, Jay Batzner, Women Composers
"Ms. Griffin's work, "krs," derives its title from a Serbian word for a harsh, unforgiving landscape. The accompaniment was an amazing new score composed and played by Milica Paranosic, who made piano keys and strings thud, rumble, twang and chime with astonishing sounds occasionally punctuated by piercing whistles. Her music, fascinating in its own right, added much to the drama of Ms. Griffin's choreography." - Jack Anderson, New York Times, July 2005
"The link to the folk heritage of her country is typical for Milica's creative work as well as the harmonic mixture of classical, academic electronica and progressive avant-garde styles.
... includes the whole spectrum of emotions and moods - anxiety and tenderness, reflectiveness and dreaminess, rage, sadness, quiet joy." - Julia Kozyreva, Electroshock Records, 2002
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