“Season after season, PROTOTYPE introduces to New York pieces that shift the whole paradigm of what opera is and can be.”
Observer, January 2018

“PROTOTYPE – a festival of cutting edge opera-theatre and music-theatre works – has only been around a few years, but has gained major recognition as a collection of ‘can’t-miss’ events.”
Classical Music Communications, January 2018

“…the PROTOTYPE Festival is deeply committed to artists, giving composers, librettists, designers, performers, choreographers, conductors and directors support, developmental workshops and productions of their work.”
StageBuddy, January 2018

“PROTOTYPE Festival. Annually one of the most important musical events.”
Brooklyn Rail, December 2017

“…unleashing a powerful wave of opera- and music-theatre from a new generation of composers and librettists…Since its launch in 2013, the PROTOTYPE Festival has presented a phenomenal 32 new works across five seasons, propelling the industry forward as a firstrate presenter and influencer.”
New Yorkled, December 2017

“Socially conscious and artistically stimulating, PROTOTYPE 2018 boasts seven new presentations-three world premieres, two U.S. premieres, one New York premiere, and one work-in-progress-encompassing topical explorations of ethnic, gender, and queer identity, as well as environmental concerns and the human condition.””
BroadwayWorld, July 2017

“Essential to the evolution of American opera.”
The New Yorker, January 2017

“Now a staple of the winter classical season in New York, the PROTOTYPE: Opera/Theatre/Now festival has championed diversity in its presentation of new music theater. By the time its fifth season has concluded in January, it will have produced 10 works written by women; half of all the composers and librettists it has presented have been female.”
The New York Times, December 2016

“Vital…the city’s most important spotlight on contemporary opera, broadly defined.”
The New York Times, December 2016

“A font of innovative new operas…a cool, vital presenter of new work.”
The New York Times, December 2016

“Probably the best concentrated dose you can get of contemporary (and in-progress) music drama in America.”
The Brooklyn Rail, December 2016

“Missy Mazzoli’s Breaking the Waves, which had its première at Opera Philadelphia, in September, was among the year’s strongest operatic premières…Kiera Duffy gave an eruptive performance as the Scottish wife who undergoes sexual degradation at her husband’s behest; Mazzoli wove ominously shimmering music around her.”
The New Yorker, December 2016

“The job of cultivating untested composers falls to small organizations like the annual PROTOTYPE Festival, which stages several new chamber operas over ten days each January. If you’re wondering whether female or non-Caucasian opera composers exist, that’s one place to find them. Among this year’s offerings is Missy Mazzoli’s Breaking the Waves, which had a run last September at Opera Philadelphia. (The Times’ Zachary Woolfe called it ‘dark and daring.’) The Met should really be beating PROTOTYPE at its own game, creating an opera farm and giving composers support, time, and a smaller stage in which to develop projects and their own skills.”
Vulture, November 2016

“Now in its fifth year, this festival of contemporary chamber opera and performance has become New York’s most dependable home for intriguing music theater.”
The New York Times, September 2016

“Far and away the best place to experience contemporary opera. The fifth edition stands out for both the freshness of the works and the names involved.”
New York Classical Review, September 2016

“New York’s most dependably interesting source of new music theater.”
The New York Times, January 2016

“Amidst the general uncertainty of New York’s operatic scene, the PROTOTYPE Festival, an annual explosion of youthful energy spearheaded by Beth Morrison Projects and the experimental theatre space HERE, has built a clearly defined profile: brash, socially engaged, and substantially post-classical.”
The New Yorker, January 2016

“The go-to spot for brilliantly produced new indie chamber opera”
The Wall Street Journal, January 2016

“Something of a beacon as a generator of high-quality new operas… the PROTOTYPE Festival demonstrates conclusively that opera is a perfectly natural vehicle for contemporary stories and contemporary art.”
The Washington Post, January 2016

“This vibrant festival becomes more central to the future of opera with every passing year.”
The New York Times, January 2016

“The PROTOTYPE festival in New York City has quickly emerged as a rite of the New Year. ”
I CARE IF YOU LISTEN, January 2016

“HERE and Beth Morrison Projects prove that thrilling opera continues to bloom as their festival returns for a fourth season that ranges across venues, genres and boroughs.”
Time Out New York, January 2016

“Smaller, louder and unmistakably of the moment: That seems to be the punchy vision of opera that drives the PROTOTYPE Festival”
The New York Times, January 2016

“The PROTOTYPE Festival, which opened January 6 and runs through the 17th, is a laboratory for new works of musical theater. It is only in its fourth year, but the strength of its offerings is such that it feels like a trusted New York institution.”
Musical America, January 2016

“This excellent festival of new opera is more important than ever.”
Brooklyn Rail, January 2016

“Three years was all it took for the PROTOTYPE: Opera/Theatre/ Now Festival to go from an intriguing showcase of new operas to an indispensable part of the New York City opera scene. The dissolution of City Opera and Gotham Chamber Opera has left an obvious space for smaller-scale productions, which in no way diminishes PROTOTYPE’s importance, earned through polished productions of skillful, imaginative scores.”
New York Classical Review, January 2016

“Some of the most cutting-edge musical theater in the city…expect exceptional, but unorthodox performances.”
Condé Nast Traveler, January 2016

“At a time when opera companies are experiencing high mortality rates, the PROTOTYPE festival deserves a salute.”
Financial Times, January 2016

“PROTOTYPE’s programming defies categorization.”
Exeunt, January 2016

“A vital addition to the New York indie opera scene.”
British Airways High Life, January 2016

“Since its beginnings in 2013, PROTOTYPE: Opera/Theater/Now has grown into an eagerly anticipated, operatic Off-Broadway event kickstarting the new year…while you may not leave the theater with a spring in your step, this array of powerful new works should leave you hopeful for the future of opera.”
Classical Voice North America, January 2016

“New York’s Prototype: Opera/Theatre/Now festival, which kicks off its fourth edition this week, has been impressively shaking off any dusty connotations that opera and musical theatre may still carry. Intense and innovative productions have made the festival a must see.”
Monocle, January 2016

“Innovative opera and music theater are flourishing in New York and other cities in the United States, thanks in part to producers like Beth Morrison and the people at HERE.”
Hyperallergic, January 2016

“The PROTOTYPE Festival already has a fine reputation of bringing vibrant new operas to life in smaller New York venues.”
The Guardian, January 2016

“The best news in opera in New York these days is the PROTOTYPE Festival, an intense annual burst of new and cutting-edge opera that’s presenting and generating some of the most interesting work around.”
The Washington Post, December 2015

“Now in its third season, PROTOTYPE Festival, co-produced by HERE and Beth Morrison Projects, has become a major leader in opera theater for the twenty-first century.”
Opera News, January 2015

“Vibrantly theatrical, genre-blurring, unusual in its techniques, eclectic in its musical style and politically charged.”
The New York Times, January 2015

The Wall Street Journal, January 2015

“Bracingly innovative…a point of reference.”
The New York Times, January 2015

Rolling Stone, January 2015

“A celebration of all things avant-garde and progressive in music, theater, and art.”
Newsweek, January 2015

The New York Times, January 2015

“HERE and Beth Morrison Projects prove that thrilling opera continues to bloom.”
Time Out New York, December 2014

“Suddenly indispensable. ”
The New Yorker, December 2014

“No one will accuse the composers participating in the Prototype Festival—which, in mid-January, presented half a dozen new operatic pieces around New York—of ignoring contemporary reality. Happily, Prototype offered musical vitality alongside social pertinence.”
The New Yorker, February 2014

“The recent demise of New York City Opera has been widely, and fittingly, lamented, yet in an eleven-day period PROTOTYPE managed to uncover more new work of substance than City Opera was able to do in the past decade or more.”
The New Yorker, February 2014

“[Paul’s Case] … a worthy piece — one that shows sharp insight into how music can illuminate drama. ”
Opera News, January 2014

“Timidity is not a problem for PROTOTYPE’s trio of founding producers, Kristin Marting, Beth Morrison, and Kim Whitener. In its second season, the twelve-day festival found the crevices in New York’s underground opera life and filled them with inventive shows and intrepid audiences.”
New York Magazine, January 2014

“The best things come in small (but experimental and thought-provoking) packages.”
Wall Street Journal, January 2014

“Innovative new operas and offbeat musical-theater works.”
The New York Times, January 2014

“A fertile breeding ground for interesting new work.”
The Washington Post, January 2014

“If the subject matter is grim, the surge of small-scale, multimedia “indie” opera is full of hope.”
New York Magazine, January 2014

“The New York City showcase for new opera and theater. … Intriguing new works.”
New York Classical Review, January 2014

“I attended all of them and was extremely glad I did, except for not being able to rid myself of bittersweet feelings over the irony that thanks in large part to this festival, the 2013-14 concert season, which also witnessed the demise of New York City Opera, felt like NYC’s most vital one for new opera in years.”
New Music Box, January 2014

“An intriguing mix of musical theatre and opera.”
LuckyGirl MEDIA, January 2014

“When you think of classical, operatic chamber music, you’re probably picturing something permanently relegated to the seventeenth century. But that’s sure to change after seeing this year’s lineup at the PROTOTYPE Festival.”
StageBuddy, January 2014

“An ambitious festival…an enticing menu.”
The New York Times, January 2014

“The first gathering of new-music dramas, an extravaganza of lyrical and high-tech miniatures, set to be an annual event, showed how much life there is in New York’s underground opera scene.”
New York Magazine, January 2014

“Opera and musical-theater jubilee…a sudden explosion of great new chamber works.”
Time Out New York, December 2013

“They’re not worrying about mythology, they’re worrying about what’s going on right now. … It reminds me of the DIY movement and hacker spaces.”
SoundNotion, November 2013

“Like many operavores, you may want something fresh and more adventurous in your opera diet. If that is the case, horizons have expanded for you with the likes of PROTOTYPE.”
Passport Magazine, September 2013

“Pay attention: a new body of work is on the brink of exploding out of New York and onto the national scene, as an exciting new generation of composers and collaborators focus on the creation of chamber-sized theatre works in new and unique ways. PROTOTYPE is at the forefront of the movement, showcasing these works for new audiences and presenters alike — and David Little is one of its most pioneering, consistently groundbreaking voices.”
Exit Strata, February 2013

“PROTOTYPE Opera/Theatre/Now is just the sort of creative emergence we love at Exit Strata — a space in which there is no question that it’s time to do away with any remnant associations between classical music and anything stodgy or antiquated.”
Exit Strata, February 2013

“The contemporary mini music drama has found its impresarios in Kristin ­Marting, Beth Morrison, and Kim Whitener. They’re the nimble founders of ­PROTOTYPE, a pop-up festival that should quickly evolve into a New York institution. Armed with a jaunty slogan—“Opera/Theater/Now!”—the producers managed to pull off 29 performances of five premieres in three venues this past week. Audiences materialized too. ”
New York Magazine, January 2013

“The inaugural PROTOTYPE Festival provides a welcome home for black box-style opera performances from some of the art form’s emerging lights… The festival shows its producers’ talent for matching composers, directors and designers to create engaging interdisciplinary works.”
The Star-Ledger, January 2013

“A wildly promising new opera and music-theatre festival.”
The New York Times, September 2012

“A hothouse designed to foster fresh work.”
Time Out New York, January 2012

“A new festival featuring music-theater premieres, but in completed, ready-to-tour productions rather than Vox’s more workshop style.”
The New York Times, January 2012

“A New Music Festival Downtown to Offer Fresh Sounds and Words”
The New York Times, January 2012

Photo of Toxic Psalms by Cory Weaver