‘…I am struck by its accomplishment and potent imagination. The voice, now languid, now darling, hovers over and around the viols like the long-legged fly of the Yeats poem on which the work is based.’
The Times (Tess Knighton), 28 October 1996
‘This is a remarkable work, a setting of Yeats’ ‘Long-Legged Fly”, where Benjamin has found a newly expressive sound world - rasping colours in rich dissonant chords, pizzicato and tremolo effects. And in his use of the voice in hesitant parlando style, the claustrophobic nature of the poem is decisively captured.’
The Independent (Annette Morreau), 30 October 1996
The Times (Tess Knighton), 28 October 1996
‘This is a remarkable work, a setting of Yeats’ ‘Long-Legged Fly”, where Benjamin has found a newly expressive sound world - rasping colours in rich dissonant chords, pizzicato and tremolo effects. And in his use of the voice in hesitant parlando style, the claustrophobic nature of the poem is decisively captured.’
The Independent (Annette Morreau), 30 October 1996