Yes, she's definitely interesting. I started out with some early electronic recordings, which are good, but prefer later work.
Embarrassed to say that I only own one recording,
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Recent posts motivated me to look for orchestral music.
The composition
TO VALERIE SOLANAS AND MARILYN MONROE IN RECOGNITION OF THEIR DESPERATION got my attention. Released on vinyl only, 2 extant performances with 14- and 43-piece ensembles.
I'm listening on Youtube to the 1970 version with 14 instruments. It's rather good (some reviewers invoked Scelsi's name), so I now feel compelled to track down the 1977/43-piece rendition. [They're both on Youtube]
Here are blurbs from the Roaratorio site. The remarks about "open composition" are interesting.
“Much of Oliveros’s aesthetic is best understood as environment, areas of aural doldrums providing momentary and slightly queasy resting points, like the requisite standing back from a massive architectural work to take in the whole before venturing back in. In To Valerie Solanas and Marilyn Monroe, the hallmarks of Oliveros’s later philosophy and aesthetic are brought into direct play with politically-charged expressionism. Kudos to Minneapolis-based Roaratorio Records for uncovering such a significant work, a piece of music that will probably scare the living shit out of you. Valerie Solanas would be proud.” – Clifford Allen, Paris Transatlantic
“…it’s beautiful and strange, emotionally articulate, and I also believe it succeeds as a much less stilted approach to open composition than Cardew, Cage or Stockhausen. It is truly natural and unforced organic music, semi-scored and collaborative, making efficient use of the energy of the musicians she works with.” – Ed Pinsent, The Sound Projector
**** 4 stars : “Oliveros’ magnum feminist opus has a protracted tonal structure comparable to the work of Giacinto Scelsi. Its tenebrous expressivity is beautifully matched by the cover art…” - All Music Guide