AO in the Media
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AO in the Media •
“At the intersection of tradition and technology, innovation is often found. Composer Anna Clyne and sound engineer Jody Elff embody this spirit, changing the face of classical music through their groundbreaking concept, the Augmented Orchestra (AO). "
International Arts Manager
August 2024
“Composer Anna Clyne is expanding the sonic possibilities of the orchestral artform by blending the sounds of live musicians with digital modifications and variations of their playing in real time. Welcome to the augmented orchestra."
The League of American Orchestras
December 2024
“So effortlessly and unobtrusively were the augmented sonics integrated into the performance that one could not tell the difference between the pure live and altered sound. More than a mere gimmick, the result is a stunning orchestral showpiece that could become a repertoire staple.”
South Florida Classical Review
March 2025 (PALETTE)
“PALETTE is a ground-breaking Concerto for The Augmented Orchestra that integrates orchestral performance with live electronic processing and sonic manipulation."
Manchester Evening News
March 2025 (PALETTE)
“The “augmented orchestra” (AO) of the title uses a software program developed by sound designer Jody Elff that takes elements of the acoustic orchestra and electronically transforms them and integrates the transformed sound into the live experience in real time. It was done so subtly and tastefully Saturday night that I sometimes wasn’t sure when it was being used and when it wasn’t. I was just aware of a wider sonic range."
St. Louis Arts
February 2025 (PALETTE)
“The evening’s best moments came from the curtain-raiser, the world premiere of Anna Clyne’s The Gorgeous Nothings…The Swingles’ expertise, plus electronic spatial effects swinging around the hall, proved most beguiling.”
The i
July 2024 (The Gorgeous Nothings)
“[AO] produced a subtly atmospheric effect and heightened the fragile beauty of the music. The translucent orchestral textures were judged to perfection… The performance from all quarters was committed and sophisticated.”
Bachtrack
July 2024 (The Gorgeous Nothings)
“The results were not merely accessible (as one expected), but beautiful. In the vast intimacy of the Royal Albert Hall the effect was magical…Clyne’s orchestral accompaniment is chameleonic: simple, elaborate, powerful, rich, chorale-like, rhythmically insistent, chattering, swirling, pastoral and so on…”
Seen and Heard International
August 2024 (The Gorgeous Nothings)
“The use of an “Augmented Orchestra,” with sounds electronically manipulated in real-time by sound designer Jody Elff, added a layer of ethereal atmosphere. The result was a soundscape that felt both intimate and expansive, with fleeting moments of magic…”
A Youngish Perspective
August 2024 (The Gorgeous Nothings)
“The music is instantly striking…in its distinctive, involving sound world, full of tumbling scales, a haunting use of percussion, and dappled vocal effects.”
Musical America
August 2024 (The Gorgeous Nothings)