Ore's inseparable score and libretto, taut and distilled, made much of the transformative and exploratory implications of repetition of intervals, thematic cells and of the texts themselves. She has a remarkable ability to elevate a seemingly banal phrase through questioning repetition, which underlined her determination to crossexamine even the most blatantly wrongheaded of opinions. In its seven explorations of a 'deadly sin' against women the musical scaffolding was always foregrounded; Ore's scoring, for an ensemble of seven singers including central protagonist Virgilia) three percussionists and pre- recorded string motifs to herald each new section, was raw, often beautiful, sometimes hypnotic an always abrupt.
Andrew Mellor, 2015
www.moosereport.net
In the Ultima programme, Ore’s piece is aptly captioned as ‘a burlesque, political and socially critical opera about fundamentalist religion and misogyny’. Ore pummelled the audience with each word, pounding through the dense and weighty material with remorseless theatrical and sonic energy. ‘Feminism is Humanism’, has haunted me since.
Tempo 2015, Rose Dodd
http://journals.cambridge.org/TEM