"...something of a macaronic mixture of classical drama, folkloristic fantasy, cabaret-style archness, and wink-winking 21st-century irony. These elements don’t always sit easily together. But I can happily report that Masur and the orchestra raised their game in the Grieg by several notches, that the Tanglewood Festival Chorus was a vibrant presence, and that Tilling’s performances of Solveig’s Song and Solveig’s Lullaby, with their gleaming tone and beautiful purity of line, took the evening, albeit briefly, to an entirely different place." - Jeremy Eichler, The Boston Globe
"The reading of Lutoslawski’s difficult and underperformed Concerto for Orchestra was especially notable, with Mr. Masur showing complete command and the students playing at a near-professional level." - Hillary Scott, The New York Times
"The Boston University Symphony gave a brilliant reading of Hindemith’s work. The principals had plenty of bright solo work, but the ensemble was expertly coordinated and balanced. Masur commanded them all with complete confidence and reassurance." - The Boston Musical Intelligencer
"Conducting without a baton, Masur used a score but hardly looked at it. He showed an impressive structural grasp both in his warm and perfectly paced Andante and in his supple shaping of the score's wraith-like transition from the Scherzo into the bracing Allegro finale. Masur also highlighted the riveting virtuosity of the Phil's cellos and basses in the Scherzo’s trio section." - The Los Angeles Times
Tchaikovsky's Symphony No. 6 with the Boston Symphony, July 2016
"If a conductor doesn’t share Tchaikovsky’s penchant for the shamelessly bombastic, then a “classier” or more reserved composer might be a better choice. But Masur is fearless of Tchaikovsky’s over-the-top grandiloquence, and he knows how to pull out the stops and damn the torpedoes at appropriate times.
Don’t all conductors do this when the score calls for it?
It may appear that they do. But under Masur’s direction on Saturday, Tchaikovsky’s Symphony No. 6 crackled with such vitality and force that past performances of the work now seem pale and tentative by comparison. The crowd was ready to explode long before the piece ended. And when it did, they stood and roared." - The Berkshire Edge
"Heroics abounded in the "Eroica" — in Beethoven's Bonaparte-inspired symphony, of course, but also in the performance under Masur... ...He had a sure sense of tension and release, of making each note and phrase tell a story." - The Berkshire Edge
"Ken-David Masur, guest conductor, raised the City Chamber Orchestra of Hong Kong to a new level in the opening concert of their season. His emphatic gestures infused the players with life and set up clean tempo changes and solid entrances and endings." - South China Morning Post
"Masur drew an unusually supple shape and beautifully unified ensemble from the strings... Masur called forth robust colors form the orchestra’s brass choirs, and his telling orchestral fortes were meticulously balanced." - San Diego Story
"On the podium, [Masur] cuts a figure both streamlined and angular, and his taut podium gestures convey a wiry intensity. That quality worked to fine effect in the hurtling music... Masur’s leadership from the podium was for the most part effective and efficient." - The Boston Globe