DIVA, Victoria & Albert Museum
Apollo Art Magazine, by Lynda Nead
”Beautiful celestial projections, by video designer Tal Rosner, glitter and slowly change, create astronomical diagrams with divas such as Marilyn Monroe, Janis Joplin, Tina Turner, Prince, RuPaul at their centre – stars, galaxies and constellations of the gods and goddesses of modern Western culture."
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8 Minutes, Sadler's Wells
The Guardian, by Judith Mackrell
"8 Minutes is loosely structured around sections, with each new theme flagged up by commentary from an anonymous but charming-sounding lecturer, and given visual life by Tal Rosner’s mesmerising fusion of scientific footage and original artwork. In the first section (which meditates on measurement and scale) the introductory dance of solar flares and planetary vistas switches down to a choreography of microscopic matter, with Rosner transforming the back wall into an abstract swarm of particles, against which the dancers cluster in their own darting, glimmering formations."
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8 Minutes, Sadler's Wells
The Evening Standard, by Lyndsey Winship
"8 Minutes merges dance, visuals and music as equal partners. Daniel Wohl's score pulsates with solar energy while Tal Rosner's hypnotic digital projections feature lava-like waves, inky black views from space and a sizzling red sun...Whitley has created a work of brains and beauty, and thanks to Rosner's projections in particular, something to let yourself be swallowed up in."
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Foreign Bodies, Lincoln Center
The New York Times, by Seth Colter Walls
"The accompanying live video installation, designed and executed by Tal Rosner, was sensitive to prismatic changes in the music. When Salonen’s music blew on some slowly burning ember of a foregoing phrase, fomenting smoke for a new tutti passage, the video often responded with an imaginative visual point of comparison: exploding into surreally Fauvist color schemes, or using a live feed of the orchestra as the basis for a swirl of line-drawing patterns."
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Tehillim (Psalms), Barbican Centre
In His Words: Tal Rosner on Tehillim
"Experimental tests are the building blocks of my creation––and are steered by my personal reaction to the music."
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Everyman, Royal National Theatre
The Observer, by Susannah Clapp
"Tal Rosner’s spinning videos evoke tsunami and griddling rain, and scatter blocks of colour as if a Matisse was being dismembered."
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Four Sea Interludes, Aldeburgh Festival
The Times, by Richard Morrison
"...while the BBC Symphony Orchestra blazed out Britten's music under Martyn Brabbins, Rosner gave it a dazzling new context ... aided by state-of-the-art technology allowing a real-time interface with the performance — deconstructs horizons, bridges, motorways, skyscrapers, ships and cranes and sends them whirling in mad geometric dances."
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Flaunt Magazine Feature
Ambient N: Music for Frank Gehry’s Monoliths, by Daniel Warren
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Four Sea Interludes, Barbican Centre
The Guardian, by George Hall
"Rosner counterpointed Britten’s score ingeniously, summoning up images that, if sometimes unexpectedly, proved surprisingly complementary. The sea was still regularly present, mostly in urban seascapes focusing on bridges or overpasses. Shots of the individual cities involved in the commission – Miami, Los Angeles, Philadelphia and San Francisco – shifted to London for the Passacaglia, where fragments or agglomerations of photographs of Blackfriars bridge and the Barbican itself demonstrated the ambiguous potential of Britten’s atmospheric score as much as the variegated scope of Rosner’s geometric imagination."
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Les Enfants Terribles, Royal Ballet
The Arts Desk, by Jenny Gilbert
"Some of the narrative burden is taken by video (Tal Rosner), projected on screens that wrap around the back and sides of the stage. These supply captions (“The Game”), weather conditions (that snow scene), and a wall of unblinking eyes (memorable). The entire course of Lise’s courtship with the man she will marry is encapsulated in a video that shows their repeated greetings, progressing from formal to warm to amorous. It’s not only a moment of light relief, but a clever nod to Glass’s compositional process – that of modulated repetition."
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Les Enfants Terribles, Royal Ballet
The Telegraph, by Mark Monahan
"complete with immaculately realised projections by Tal Rosner."
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You For Me For You, Royal Court Upstairs
The Guardian, by Michael Billington
"It is the most epic theatrical venture I’ve seen in a tiny space."
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Everyman, Royal National Theatre
Variety by Mark Trueman
"Norris makes theater look fresh, with Tal Rosner’s sculptural videos gliding past and Javier De Frutos’s tub thumping choreography adding a pulse."
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Wall Street Journal Feature
Symphony Orchestras Turn to Video Artists, by Arian Campo-Flores
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X, Royal Court Downstairs
Glass Magazine by Gabriella Crewe-Read
"Tal Rosner‘s video projection melds into a disorientating, visual space storm. It is immersive, overwhelming and clever. A little like being in Tron for a while."
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X, Royal Court Downstairs
The Observer, by Susannah Clapp
"Video is by the rising Tal Rosner, who illuminated Everyman at the National. His jagged white light splinters the stage."
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