Orquesta Sinfónica de Castilla y León, Spain

October 2018

” ….. the key to yesterday’s success must mostly be attributed to the work of the conductor.  Damian Iorio, who has already shown us his value in previous appearances, did a thorough and conscientious job and everything worked perfectly. The security of his leadership gave a necessary calmness to the musicians who had an inspired evening. The synchronisation was outstanding, the result of rehearsals led by someone who knew every detail of the score. The ovation at the end signalled a richly deserved success for the OSCyL.”

Emiliano Allende, El Norte de Castilla, 27/10/2018


Noord Nederlands Orkest, Netherlands

January 2018

5 Star review

Guest conductor Damian Iorio managed to get the orchestra to perform with good energy and also with finely polished playing.

Paul Herruer, Dagblad van het Noorden, 07/01/2018


Orquesta Sinfónica de Castilla y León, Spain

Shostakovich – New Babylon
October 2017

Damian Iorio did an excellent job conducting. He knows the work in depth, and has an outstanding ability to communicate its essence, advancing the action at all times and synchronising to the moving images with ease. His treatment of the dynamics was very effective. The trumpet and violin passages stood out, together with the passage in which the piano, full of melancholy images, is supported by one of the pieces of Tchaikovsky’s Opus 52. It was, for another year, one of the brightest moments of the festival.

Emiliano Allende, El Norte de Castilla, 29/10/2017


CD Review – Records International – Orchestra Sinfonica Nazionale della RAI

Pizzetti – Symphony and Harp Concerto, Naxos
April 2017

“This is the best thing Naxos has put out in years.”

recordsinternational.com, 01/05/2017


Orquesta Sinfónica de Castilla y León, Spain

January 2017

Damian Iorio directed to this same orchestra four years ago in an excellent performance of the ninth symphony by Shostakovich. In the second part of the concert we are now reviewing, he directed two works: The Fountains of Rome, P. 106 by Ottorino Respighi, and In the South (Alassio), op. 50 by Edward Elgar. The versions of Iorio were at times delicate and at other times, vigorous and brilliant. If we had to highlight some feature that distinguishes the British conductor from other excellent young conductors that we have heard in recent months in this same auditorium it is the extraordinary transparency that he obtained from the Symphony Orchestra of Castilla y León.

Mundoclasico.com, José del Rincón, 07/03/2017


Orquesta Sinfónica de Castilla y León, Spain

January 2017

“Damian Iorio proved to be a great conductor. Flexible and gifted, he brought out the best in the music.”

Emiliano Allende, El Norte de Castilla, 14/01/2017


Norrlands Opera, Sweden

Weill – The Rise and Fall of Mahagonny
October 2016

“The conductor Damian Iorio led the singers, chorus and orchestra with an exemplary stick technique, bringing everyone to perform at the highest level. The conductor brought out the dramatic structure and minimised the score’s flaws, getting the musical language to really contrast in all three acts. Iorio clearly knows the score in detail and conducted with a contagious spirit that everyone greatly enjoyed.”

Bengt Hultman, Västerbottens Kuriren, 09/10/2016

BBC National Orchestra of Wales, UK

April 2016

“Quite simply the best rendition of the music I have ever encountered”

“Even better was the final item on the programme, an absolutely stunning delivery of Respighi’s Church Windows. And this performance was quite simply the best rendition of the music I have ever encountered. The dynamic range which Damian Iorio obtained from the orchestra was simply overwhelming; the concert is being broadcast on Radio 3 at some time in the next couple of weeks, but the engineers will have their work cut out to convey anything like the excitement generated in the hall.”

Paul Corfield Godfrey, seenandheard-international.com, 26/04/2016


Royal Liverpool Philharmonic Orchestra, UK

March 2016

“A stunning performance”

“A stunning performance of Bernstein’s Symphonic Dances from West Side Story as well as a seriously competent interpretation of Respighi’s Church Windows. The latter was exciting, dramatic, thoughtful and introspective. It’s hard to think of all those adjectives imposed onto one performance but this was it. Iorio coaxed a great deal out of the RLPO and it worked. This was a stunning performance, too, of the Bernstein Symphonic Dances. Here was the RLPO in real party mood, making a huge sound, really letting their collective hair down and having a great time. A stunning end.”

Glyn Môn Hughe, theartsdesk.com, 13/03/2016


Lahti Symphony Orchestra, Finland

September 2014

“A convincing debut”

“Conductor Damian Iorio was a pleasant acquaintance. Although his moves have temperament and artistic sensitivity, he doesn’t resort to theatrical or physical exhortation. And his musicians respond to him. The end result are clear contours without any frailty, and a mutual interaction without any tonal unclarity.”

Jari Pitkänen, Etelä-Suomen Sanomat,  20/9/2014


Orchestra della Svizzera Italiana, Switzerland

March 2014

“OSI in top form, skillfully conducted by Damian Iorio”

“Both the orchestra and the conductor Damian Iorio were excellent in Mozart’s Ouverture of La Clemenza di Tito and in Symphony no. 38 in D major K504. Iorio’s conducting was precise and appropriate but never conventional, and his performance was distinguished by its intensity.”

Alberto Cima, Corriere del Ticino, 24/03/2014


CD Review (4 stars) – The Guardian – Orchestra I Pomeriggi Musicali, Italy

November 2013

“I Pomeriggi Musicali’s fine live performances are scrupulously conducted by Damian Iorio.”

Casella_ Triple Concerto; Ghedini_ Concerto dell'albatro – review _ Music _ The Guardian-top“Part of Naxos’s 20th-century Italian classics series, this presents us with a pair of radically different mid-century triple concertos, though both, inevitably perhaps, glance back to Beethoven’s famous prototype. Casella’s concerto, dating from 1933, is usually described as neo-classical, though his quintessential synthesis of Mahler, Stravinsky and Italian baroque makes it utterly distinctive and compelling. Ghedini’s austere 1945 Concerto dell’albatro (Concerto of the Albatross) is more experimental: the trio of soloists is joined by an actor reading the passage dealing with Ishmael’s mystic encounter with the God-like albatross from Melville’s Moby Dick. I Pomeriggi Musicali’s fine live performances are scrupulously conducted by Damian Iorio. Violinist Paolo Ghidoni and cellist Pietro Bosna adopt a lyrical approach, in contrast to the more overtly virtuosic playing from pianist Emanuela Piemonti. Carlo Doglioni Majer is the authoritative, if echoey speaker in the Ghedini.”

Tim Ashley, The Guardian, 21/11/2013


Orquesta Sinfónica de Castilla y León, Spain

January 2013

“OSCyL infected by the romance of Maisky and the energy of Damian Iorio”

“The other attractive addition of the concert was the conductor Damian Iorio ….. He immediately showed his personality with the vital impulse needed to get an excellent performance of the Overture to ‘Ruslan and Lyudmila’ by Glinka. ……. Then he attacked Shostakovich’s Ninth Symphony showing his knowledge and decisiveness, a work that despite its short length maintains the identity of a composer who lived a constant struggle with political power. The changes of tempo, rhythmic pulse and sonic contrasts were well exposed under him by the soloists and all sections of the orchestra.”

Emiliano Allende, El Norte de Castilla, 19/01/2013


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