« The combination of risk and physical wizardry seemed a perfect match for the music. As for the Debussy Quartet, their feat can hardly be overstated. To play three quartets âx80“ the others were No 5 and No 11 âx80“ almost entirely from memory to such a level of intelligence and musicality would already be beyond most players. To do so while walking around barefoot, sometimes blindfolded, with 14 bodies jumping and leaping dangerously just inches away, renders one speechless. The joint trust between all, acrobats and musicians alike, was extraordinarily moving. Shostakovich would have thrilled to every second. » The Guardian

« The combination of risk and physical wizardry seemed a perfect match for the music. As for the Debussy Quartet, their feat can hardly be overstated. To play three quartets âx80“ the others were No 5 and No 11 âx80“ almost entirely from memory to such a level of intelligence and musicality would already be beyond most players. To do so while walking around barefoot, sometimes blindfolded, with 14 bodies jumping and leaping dangerously just inches away, renders one speechless. The joint trust between all, acrobats and musicians alike, was extraordinarily moving. Shostakovich would have thrilled to every second. » The Guardian

« The combination of risk and physical wizardry seemed a perfect match for the music. As for the Debussy Quartet, their feat can hardly be overstated. To play three quartets âx80“ the others were No 5 and No 11 âx80“ almost entirely from memory to such a level of intelligence and musicality would already be beyond most players. To do so while walking around barefoot, sometimes blindfolded, with 14 bodies jumping and leaping dangerously just inches away, renders one speechless. The joint trust between all, acrobats and musicians alike, was extraordinarily moving. Shostakovich would have thrilled to every second. » The Guardian

« The combination of risk and physical wizardry seemed a perfect match for the music. As for the Debussy Quartet, their feat can hardly be overstated. To play three quartets âx80“ the others were No 5 and No 11 âx80“ almost entirely from memory to such a level of intelligence and musicality would already be beyond most players. To do so while walking around barefoot, sometimes blindfolded, with 14 bodies jumping and leaping dangerously just inches away, renders one speechless. The joint trust between all, acrobats and musicians alike, was extraordinarily moving. Shostakovich would have thrilled to every second. » The Guardian

« The combination of risk and physical wizardry seemed a perfect match for the music. As for the Debussy Quartet, their feat can hardly be overstated. To play three quartets âx80“ the others were No 5 and No 11 âx80“ almost entirely from memory to such a level of intelligence and musicality would already be beyond most players. To do so while walking around barefoot, sometimes blindfolded, with 14 bodies jumping and leaping dangerously just inches away, renders one speechless. The joint trust between all, acrobats and musicians alike, was extraordinarily moving. Shostakovich would have thrilled to every second. » The Guardian

« The combination of risk and physical wizardry seemed a perfect match for the music. As for the Debussy Quartet, their feat can hardly be overstated. To play three quartets âx80“ the others were No 5 and No 11 âx80“ almost entirely from memory to such a level of intelligence and musicality would already be beyond most players. To do so while walking around barefoot, sometimes blindfolded, with 14 bodies jumping and leaping dangerously just inches away, renders one speechless. The joint trust between all, acrobats and musicians alike, was extraordinarily moving. Shostakovich would have thrilled to every second. » The Guardian

« The combination of risk and physical wizardry seemed a perfect match for the music. As for the Debussy Quartet, their feat can hardly be overstated. To play three quartets âx80“ the others were No 5 and No 11 âx80“ almost entirely from memory to such a level of intelligence and musicality would already be beyond most players. To do so while walking around barefoot, sometimes blindfolded, with 14 bodies jumping and leaping dangerously just inches away, renders one speechless. The joint trust between all, acrobats and musicians alike, was extraordinarily moving. Shostakovich would have thrilled to every second. » The Guardian

« The combination of risk and physical wizardry seemed a perfect match for the music. As for the Debussy Quartet, their feat can hardly be overstated. To play three quartets âx80“ the others were No 5 and No 11 âx80“ almost entirely from memory to such a level of intelligence and musicality would already be beyond most players. To do so while walking around barefoot, sometimes blindfolded, with 14 bodies jumping and leaping dangerously just inches away, renders one speechless. The joint trust between all, acrobats and musicians alike, was extraordinarily moving. Shostakovich would have thrilled to every second. » The Guardian

Les Nuits de Fourvière, Lyon, 2014

Considered one of the most significant American artists of the 20th century, the self-taught Clementine Hunter produced thousands of paintings drawn from her own experiences working and living on a southern plantation. It was not until her 50s that Hunter made her foray into visual art, yet she painted extensively until just days before her death in 1988 at the age of 101. Robert Wilson first met Hunter at the age of 12 when he acquired one of her works, initiating a passionate love for Hunter's style as well as art collecting as a whole. Wilson acquired many more Hunter pieces throughout her celebrated career and first honored her with his conception of Zinnias: The Life of Clementine Hunter at Montclair State University, Montclair, New Jersey in 2013. A vibrant opera, Zinnias traces the life of the beloved Hunter throughout her long and inspiring life.