Innovative new music theater. This is a production well worth seeing and a joint career well worth following.
John Rockwell, New York Times
Kabbalah is a lustrous and often eloquent work by composer Stewart Wallace and librettist Michael Korie, the same bright pair who created Where's Dick? for the Houston Grand Opera, which conjured up a morally exhausted, comic-book world where ideals are sought in vain. Kabbalah seeks instead for a divine motivation in Hebraic and early Christian traditions. The music has melody and a contemporary sound etched with traditional Eastern tonalities. Kabbalah is simple in its structure, but hugely complex in its implications.
Ann Holmes, Houston Chronicle
Exciting and powerful. Wallace's loose-limbed, quasi-minimalist score is an endless storehouse of rich surprises.
Joshua Kosman, San Francisco Chronicle
A fabulous stroke of theaterical poetry..., full of haunting effects. A piece where the excitement lies not in Opera Going - who's singing, what she's wearing, what you're wearing - but in the sheer encounter, in a small space, of this music, these voices, this story.
Joan Acocella, 7 Days
Intelligent, glowingly rapturous. Kabbalah was satisfying on many levels, leaving a warm glow, like elements of a dim, deep language.
David Israel, Ear Magazine
A musical experience that approximates a religious one. The music is powerful, the libretto compelling. Kabbalah manages to avoid being the hokey homogenization of Jewish material one might expect, owing to the quality of the music and intelligence with which the libretto has been crafted. How often is opera sung almost exclusively in Hebrew and Aramaic?
Jonathan Rosen, The Forward