Press
"Sosa’s composition is well-balanced to the story’s narrative, and his vocal writing aroused strong emotional peaks and valleys, magnified by the characters’ impassioned performances."
— Kevin Baldwin, I Care if You Listen
"Sosa’s score was agile and entertaining, as befits such a journey. High points included the seductive slow number sung by Hilaire as Mara in her guise as a hostess in a technicolor housecoat, a chilling sequence featuring Lopez as Sha’s humanity is tested, and a crackling vocal duel between Guan Yin and Mara."
— Zoë Madonna, The Boston Globe
"The electronically produced high-pitched screeches Sosa orchestrates serve as a dictator of Beltran’s madness and gives us the feeling that her cold prison cell bars are not only screaming, but bending and twisting their way towards her."
— Evan McCormack, Opera Pulse
"Romantic symphonic music of tragedy and loss is evoked without compromising the twenty-first century edge of industrialized brutality"
— Jean Ballard, Theater Scene.net
"The boldest choices on Tárogató Constructions are to be found on Lamneck and Jorge Sosa’s Enchantment, in which Lamneck sounds her most relaxed amid Sosa’s intriguing and deftly painted landscape."
— Colin Holter, I Care If You Listen
"Sosa’s music, conducted by Maria Sensi Sellner, flowed naturally with the rhythms of speech; in one gorgeous duet early in the opera, the two main characters reminisce on the divergent lessons their mothers gave them about how to behave in their new country.”
— Zoë Madonna, The Boston Globe
"Jorge Sosa's score is rapturous...As an evening's entertainment, this should not be missed...As an experiment in digital performance, this should not be ignored."
— Andrew Child, Broadway World
"Composer Sosa’s broad stylistic palette incorporated lyrical impassioned melodies, kooky carnival music, and efficient recitative"
— Joanne Sydney Lessner, Opera News
"Jorge is a wonderful, extremely romantic composer, with a great sense of fantasy and imagination. His music blends traditional Mexican folk sounds with an almost Puccini-like lyricism"
— David Alan Miller, Broadway World
"Dreamlike and sometimes even nightmarish music."
— Ruth Renée Reif, Crescendo Magazine