Hyperallergic, The Horrors of Being a Middle Age Woman in a Capitalist Society (April 2024)
“Sound plays a crucial role in Moulton’s work…longtime collaborator Nick Hallett’s manipulation of the opening bars from Radiohead’s Y2K synth anthem “Everything in Its Right Place”…suggests a more literal narrative arc in the search for pop-lyrical meaning…Everything does have a place.”
“The musician Nick Hallett, who is responsible for the reconstruction, said that the piece was “about New York City,” and more important, “tells the story of Arthur’s New York City.””
“What made “What Problem?” most poignant was the use of voice…At times, the voices of a live chorus jolted the choreography into a rambunctious groove, and one member of the chorus pined for Pip in a heart-wrenching solo that shook my core.”
New York Times, Review: Bill T. Jones’s Oceanic Vision (September 2021)
“Sonically stunning”
LA Weekly, Video Art Pick: Shana Moulton and Nick Hallett’s Whispering Pines 10 (April 2020)
“Otherworldly music, soaring vocals, syncopated rhythms, sparkling synths”
“(The music) leaves room for the other elements to offer a sumptuous surface of exceptional sophistication and grace”
Art in America, Shana Moulton and Nick Hallett (September 2018)
“The faces of clocks and figurines morph into those of ethereal people singing beautiful, soaring arias.”
New Yorker, Nick Hallett and Shana Moulton (April 2018)
“An effervescent, operatic score”
Opera News, review of To Music, Scene Two (March 2017)
"Gorgeous, heartfelt vocalises...it's a genius solution to expressing the inner lives of characters while keeping the action moving forward."
"Nick Hallett has been listening to Garrison Keillor since he was 8. He never expected to find the radio man himself at his doorstep in the Sonoran Desert."
New York Times, “Review: Dance That Tries to Capture One Body, Two Selves” (October 26, 2016)
“The most stirring moment arrives late in the piece…and we hear just the beginnings and endings of what must have been many phone calls”
i-D, "Guide d'été des expos à faire (par les artistes)" (July 19, 2016)
"Shana [Moulton] avait fait une performance magique avec Nick Hallett"
Red Bull Music Academy Daily, "Lesley Flanigan’s Vision of Sound" (April, 2016)
"Nick Hallett and Daisy Press, two classically trained singers, performed their gorgeous take on the compositions of the 12th century composer St. Hildegard"
“a trio of Hildegard Von Bingen songs…reinvented as starlit, twinkling art-rock. Hallett supplied a kaleidoscope of deep-space textures and baroque-pop loops for Press to soar over.”
SFGate, "Bill T. Jones' moving tribute to mother-in-law" (March 11, 2016)
"Nick Hallett and Emily Manzo expertly combine Schubert lieder, World War II-era French songs and some of Hallett’s own rawly combative music"
KQED Arts, "Best Live Performance: Shana Moulton at YBCA" (December 28,2015)
"Stunningly musical"
Hyperallergic, “A Holocaust Survivor’s Story in Postmodern Dance” (June 22, 2015)
“…buoyed by a fantastic score and performances by Nick Hallett (accompanied by Emily Manzo), who sets Schubert to a techno beat and sings French chansons with incredible possession.”
The Creator’s Project: Kid Millions Takes the Drumline to the Next Level (May 29 2015)
"...an endeavor he credits largely to the help he received from NYC-based composer (and one of the vocalists in "100 Disciplines"), Nick Hallett"
Pitchfork, "A Dispatch from the D.I.Y. Opera Scene" (April 8, 2015)
"The best of the operas juxtaposed wildly contrasting musical styles. Hallett’s dark comedy To Music was the most elaborate collage"
New York Classical Review, ““Experiments in Opera” offers inspired moments…” (April 2, 2015)
“Hallett’s To Music [Scene 1] was the most linear and the most engaging work of the night”
Modern Painters, “Review: Karlheinz Stockhausen’s Originale at The Kitchen” (February, 2015)
”Hallett’s casting reimagines the downtown spirit of the 1960s, carefully redressing the balance of that era’s male-dominated, whitewashed art world with a number of artists who are female, queer, trans, and of color.”
I Care if You Listen, "5 Questions to Nick Hallett" (September 17, 2014)
Art Practical, "Therapeutic Bodies" (October 15, 2014)
"Moulton and Hallett create a narrative of transcendence, in which Cynthia’s body is, while disjointed, somehow healed with drug-store health and beauty items."
The New Yorker, "Joyful Noise" (April 16, 2012)
"The Brooklyn-based new music impresario Nick Hallett, who co-hosts an invaluable series..."
The Oregonian, "In Portland, the best of 2011 in visual arts" (January 6, 2012)
"No other TBA performance has haunted me like Moulton's "Whispering Pines 10,"
BOMB Magazine, “Whispering Pines 10 at the Kitchen”by Kareem Estefan (April 28, 2010)
“Hallett’s lyrics motivate Cynthia to seize the day or to persevere in the face of loss and pain. At one point, he gently calls her back from fantasy by cooing, “you are needed back home to save the human race.”
Sequenza21, “Nick Hallett’s Whispering Exercises” (May 22, 2009)
“In Nick Hallett’s through-composed world, the sweetness and the rumble get along and share the same universe, which adds a spiritual dimension to the statement”
Time Out, New York: Self-made man (July 22, 2008)
"An artistic force"
New York TImes, “That Same Old Beat, With Brand-New Choices” (December 1, 2007)
“The series’s third annual reading (of Terry Riley’s Minimalist Classic, “In C”)...was the most vital, audacious and energizing performance of the score I’ve ever heard.”