North American Representation
The Marriage of Figaro review: setting high standards for Irish opera

"Under his guidance the Irish Chamber Orchestra in the pit becomes a character in its own right, not just driving and supporting the drama, but effectively commenting on it, too. Whelan doesn’t just glory in Mozart’s gorgeous writing for wind instruments. He shapes and frames phrases in ways that seem entirely fresh, sometimes generating a growl or a mutter, sometimes acting like a powerful spur to energise the action on the stage."

Michael Dervan, Irish Times
Irish Chamber Orchestra On Tour With A Mendelssohn Revelation

"The Irish Chamber Orchestra may not be much of an established brand in the international orchestra-world, but they are on their best way of getting there. Currently on a on-and-off tour of continental Europe, they are spreading their excellence in places like Brussels, Freiburg, Vienna and Heidelberg."

Jens F. Laurson, Forbes
The Irish Chamber Orchestra’s second attempt at taming the Mansion House room’s intractable acoustic brought some progress

"Widmann and his players brought to it the same kind of sensitive brio that they showed throughout the evening. As the wrap-up of a concert that opened with the music of one of the most astonishingly balanced minds of the 19th century, and went on to stranger and wilder things, Weber’s unorthodox symphony seemed to be absolutely in the right place."

Michael Dervan, Irish Times
Wild, hectic, playful and effervescent

"At one with Widmann's direction, ICO's support is elegant and trenchant."

Pat O'Kelly, Irish Independent
Irish Chamber Orchestra at Stanford’s Bing Hall

"The final Allegro was played very fast, with crisp articulation that brought flying sparks of excitement to the audience, as noted by a spontaneous standing ovation as soon as the soloist reached the final note."

Roger Emanuels, Peninsula Reviews
"The music is in a spare, focused, linear style that, in this performance, fired up to moments of fierce, trumpet-topped intensity. The first part is driven in jagged rhythms, the central, slower part provides a certain amount of relaxation, and the finale moves with foot-tapping clarity. The ICO played it as if their very lives depended on it."
Michael Dervan, Irish Times
"In any case, the 38-member orchestra, appearing Friday night in the University of Chicago's Mandel Hall, came across as a razor-sharp, fully seasoned ensemble, a worthy ambassador to represent the home country in a year when Culture Ireland, a national agency, is going all out to promote Irish arts abroad." Read More...
John von Rhein, Chicago Tribune
"The Irish Chamber Orchestra visited Mandel Hall Friday at the University of Chicago as part of their eight-city US tour, bearing a program of four works of varying notoriety, all presented with palpable devotion and an unrelenting sense of purpose and drive." Read More...
Michael Cameron, Chicago Classical Review
"The aim of the ICO has always been, he says, to develop an ensemble that could compete with the best chamber orchestras in the world. 'What we've really done here from the beginning is facilitate talent - and now we can go on doing that. We have much more freedom to rehearse, to develop education and outreach programmes. We have our own recording facility. We have a music library.'" Read More...
Arminta Wallace, Irish Times
"The Irish Chamber Orchestra, who are cresting a wave of artistic excitement at the moment with artistic director Anthony Marwood, have just moved into flash new premises in the University of Limerick." Read More...
The Guardian (UK)
Top Five Classical: Esa-Pekka Salonen; Irish Chamber Orchestra
"The superb violinist Anthony Marwood leads from the fiddle in a concert of Arensky, Bach and Shostakovich."
Richard Morrison, London Times
Anthony Marwood, artistic director of the Irish Chamber Orchestra that performed for Tuesday Musical Tuesday, April 15th, at EJ Thomas Hall in Akron.
"Not many in the audience may have heard of the Irish Chamber Orchestra before its concert on the Tuesday Musical Association series Tuesday night. It proved well worth getting to know in a program that vaulted most of the hurdles of an all-string ensemble, sometimes to startlingly innovative effect." Read More...
Elaine Guregian, Akron Beacon Journal
"The youthful players work wonderfully with their intelligent director, British violinist Anthony Marwood. They brought a warm, agile and clean sound. Focused unisons conjured images of white-hot comet centers with celestial trails. Busier sequences can emerge ponderous in such orchestral arrangements, yet in this driving account, only a few passages moved more like a sedan than a sports car." Read More...
Daniel Ginsberg, Washington Post
"Amid shouts of 'bravo' and 'wunderbar', a clearly moved Vasks leapt onto the stage to embrace Marwood. 'Anthony is simply incredible, he gives 150 per cent, and the orchestra play so well, they are simply superb,' said a tearful Vasks afterward." Read More...
Derek Scally, Irish Times
"Inspired by the graceful, moving, filled-with-longing middle movements, Artistic Director, Anthony Marwood's interpretation revealed all the details of Haydn's astonishing inventiveness in the first three movements and his infectious sense of fun in the finale." Read More...
Declan Townsend, Irish Examiner
"Artistic director and leader Anthony Marwood's lively direction brought the expressivity of the symphony to the border of what might be considered authentic without going over it." Read More...
Michael Dungan, Irish Times
"Mozart's evergreen Eine kleine Nachtmusik was delivered in a manner that was both robust and sensitive. The more grotesque elements of Raymond Deane's obsessive Dekatriad were well attended to, and Halvorsen's fanciful claboration of Handel's Passacaglia in G minor glowed and sparkled ..."
Irish Times
"Handel's Concerto Grosso in A, Op. 6 No 11, proved an equally good showcase for the orchestra, which under McGegan played with dancing vivacity. The strings-only ensemble had plenty of body and bite, yet also elegance in the slower movements, which never dragged."
London Times
"Anthony Marwood has numerous strings to his bow, including playing on stage in the nude. No wonder he's tipped to be Instrumentalist of the Year." Read More...
Michael Church, The Independent (UK)
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