NEIL GLADD - Concert Reviews

"The presence of mandolins brought a unique feature to the concert as soloists Stan Kurtis and Neil Gladd performed Antonio Vivaldi's Concerto in G for two mandolins, strings and cembalo. ...after which the mandolin duet accepted a clamorous ovation from the audience."

- Vincent Patterson, The Washington Times


 U.S. premiere of Morris Surdin's Concerto for Mandolin and Strings: "Mandolinist Neil Gladd's tremolando strumming and single-stroke picking enlivened the contrasting modal and disjunctive blues phrases. The audience could scarcely contain its enthusiasm - assistant conductor Michael Arrington twice had to restrain the applause."

 - Charles McCardell, The Washington Post


 "Mandolin expert Neil Gladd received tumultuous applause for his breathtaking solo and ensemble playing in Hummel's Mandolin Concerto in G. ... his performance was clearly stated and exceptionally balanced with (George) Steiner's orchestral forces."

- J. Kenneth Townsend, The Alexandria Gazette


 International Mandolin Festival, Malmedy, Belgium: "A superbly convincing performance, communicating sometimes unusual music successfully even to the relatively uninitiated among the universally enthusiastic audience."

- Keith Harris, Australian mandolin virtuoso


 "Use of the mandolin is common in folk and popular music, less so on the concert stage; if there were more musicians with Mr. Gladd's enterprise and artistry, the situation might change. He played with energy, fluidity and rhythmic impetus ..."

- Tim Page, The New York Times


 "His substantial and rather charming recital ... was a testimony to Gladd's virtuosity and his messianic industry." " But it was in Gladd's final performance - a slightly languid, slightly self-mocking but every-note-included rendition of the finale from Mendelssohn's Violin Concerto - that his personable virtuosity really shined."

- Anthony Tommasini, The Boston Globe


 "Neil Gladd's presentation Monday night of "Mandolin Madness II" proves there is an unexpected supply of contemporary music for unconventional instrumental groups that few concert goers ever get to hear.  Mandolinist Gladd took the solo spotlight a few times, and his technique can be quite grand.  The first movement of his own Sonata No. 2 was played with exacting control and remarkably fleet fingering."

- Kate Rivers, The Washington Post