. . . a stirring and beautiful adventure. . . He has written some of the most ardent love music since Messiaen's, and love music finds its place in the opera. . . There is also music of pain and despair. Bell sounds, chants, choruses, electronics, swelling harmonies, sharp-focus solo lines fill the theatre with deep, ever-changing ever-stirring music.'
Andrew Porter, The Observer, 13 June 1993