”... I have known Mateusz Molęda well for several years and I am absolutely convinced that he is a highly talended conductor and has a bright professional future. ... He has been for many years my very effective and efficient assistant and has given me good and important comments on my work. ...“
Marek Janowski, conductor - March 2021
”... In addition to the secure mastery of the conducting craft, Mateusz Molęda has a natural authority which, in combination with his communicative openness and sensitivity for the orchestra, creates a very pleasant atmosphere. He impresses not only because of his uncontested musical abilities, but also because of his stylistic flexibility. I am sure that Mateusz Molęda is an acting and reliable partner to the respective ensemble at the highest level in both the operatic and symphonic repertoire. ...“
Michael Sanderling, conductor - January 2021
”... The Mendelssohn was wonderfully lithe and propulsive; working with rather fewer strings that might be usual (owing to space constraints on stage) the balance was less string dominated than in some modern symphony orchestra performances, and Molęda clearly fed off this and encouraged an impulsive and dynamic performance full of lovely instrumental detail. The second movement continued the sense of onward movement with a graceful flow to the third. The finale was vivid and vigorous, with a great sense of tension and expectation in the quieter passages. ...“
Robert Hugill, Planet Hugill - A world of classical music - October 25, 2020
„... In Hindemith's impetuous and at the same time witty instrumentation of his Symphonic Metamorphosis one can clearly hear the influence of America. He combines sounds of jazz with march-like rhythms, inspired by Sousa. Above all, the fourth movement radiated the greatest joy. The excellent German-Polish conductor Mateusz Molęda and the orchestra provided a rousing interpretation.“
Ole Straarup, Aarhus Stiftstidende - November 10, 2018
” ... Previously, the orchestra had warm-up with Schumann's Overture to "Genoveva" in a vivid and coherent interpretation that was conducted by Molęda with the utmost precision and exuberance. In the slow introduction, in particular, the wonderful tranquility came to the fore, which allowed the musicians to breathe with the music and to finish their phrases without undue stress. After the intermission, it was time for Robert Schumann's Third Symphony, named "Rhenish", a demanding and challenging work that does not play on its own. But also here, the very young Mateusz Molęda demonstrated that he has a clear understanding of the work and showed subtile and transparent orchestral leadership through which he was able to convey his ideas to the orchestra unequivocally. The playing was full of energy and power while creating a coherent connection in the great lines of music. Molęda took very much care of a good inner balance between the groups of instruments. Particularly the brass was able to shine several times in the course of the symphony. Especially beautiful was the serious fourth movement, which was the prelude to a lively and quick finale, supple, dancing and full of invigorating energy. The orchestra played brilliantly and it has been a very nice encounter with a very young, but impressively reliable conductor.“
Tore Mortensen, Nordjyske Stiftstidende - October 6, 2018
” ... The only 31-year-old conductor led the Nuremberg Symphony Orchestra in the introductory piece, Bedřich Smetana's Overture from "The Bartered Bride", so jagged and fast - yet highly precise - that one had little worries, as probably this would go on in Dvořák's following Cello Concerto. But already after the first notes of the introduction it was clear: He can also be gentle, sensitive. ... To the actual ending of the piece, the quiet silencing, Dvořák added, following the conventions, another tutti which Molęda took extremely fast with incredible and vehement dynamics. Giant applause of the audience. ... In the second part of the concert program Schumann's "Rhenish" Symphony could be heard: cheerful mood and beautiful melodies in which the orchestra revealed. Long legato passages have been so precisely intoned and rhythmically structured, which proved once again the high quality of the orchestra and the conductor. Time flew by, Molęda never let the tension slip, renounced long pauses between the movements, baned his orchestra and the audience. ...“
Juliana Eiland-Jung, Badische Zeitung - March 5, 2018
”Full passion, excitement and poetry. The audience enjoyed a concert evening, in which not only the young guest conductor Mateusz Molęda, but also the Canadian Ariel Barnes, soloist in Dvořák's Cello Concerto, made a strong impression. Equating to a congenial duo, they abducted the listener into a soundscape oscillating with poetry and drama over and over again. Molęda's leadership impressed. ... Robert Schumann's Third Symphony, the "Rhenish", was able to top that after the intermission. The sustained elegance of the work, the festive character of the symphony, which has been premiered in Düsseldorf in 1851, once again emphasized the orchestra's musical presence, the atmospheric flair and the sure hand of its guest conductor, who conducted as in the opening piece, Smetana's Overture from "The Bartered Bride", again from memory. ...“
Jürgen Haberer, Lahrer Zeitung - March 3, 2018
”... Mateusz Molęda excites and captivates the audiences with the brilliant Nuremberg Symphony Orchestra. ... His consistently profound approach to Mendelssohn with flowing tempos was round and fresh, which he fulfilled youthfully and with tackling emotionality in the concluding "Reformation Symphony". With multifaceted dynamics and pointed accents, he described his differentiated view on Luther's life journey from the sacred references of the first movement ("Dresdner Amen") through the joyous scenes of the "Allegro vivace" (Minuet and Trio following Beethoven's Pastoral Symphony) to the final movement, the choral variations on Martin Luther's "A Mighty Fortress Is Our God". ... The renowned orchestra impressed under Mateusz Molęda with its coherent and harmonious interpretation and consistent euphony. ...“
Dr. Peter Müller, Freies Wort - October 7, 2017
”... Sonority, state of euphoria, ecstasy. ... The prudent and empathetically conducting Mateusz Molęda led Mendelssohn's concluding "Reformation Symphony" with precise insistence and did not let the Nuremberg Symphony Orchestra in the quiet parts to fall into a meaningless tension, but rather brought the sound also here to flourish. The enthusiastic and frenetic cheers of the audience were followed by Mendelssohn's Wedding March as encore. ...“
Kristian Kuhnle, Straubinger Tagblatt - October 2, 2017
”... The hall was restless filled and the audience thrilled! Saturday's concert of the NFM Symphony Orchestra conducted by the phenomenal Mateusz Molęda was an amazing artistic happening! ...“
lca.pl - November 20, 2016
”... He works focused and determined, grinds here on the accentuation, draws there on the pace, emphasizes orchestral differentiation and sophistication. ...“
Dr. Ursula Adamski-Strömer, BR-Klassik - June 13, 2016
”... Mateusz Molęda is a highly talented conductor. His personality is extremely motivated and humble towards the music and the composer, but mercilessly over conventional expectations and habits. He is a musical activist from which I am expecting in the future many interpretations which will open our eyes and ears. He has a profound musical knowledge which he brings in working with every orchestra, together with tirelessness, persistence, thirst for knowledge and an endless creativity. ...“
Arie Vardi, pianist conductor - March 2016
”... The whole elaborating mystery of the evening was lead from the conductor's podium by him: Mateusz Molęda - spiritus movens of this fascinating sound spectacle. After the break, he was left alone on stage - with the orchestra and Ludwig van Beethoven's Symphony No. 7 in A Major Op 92. He stayed and triumphed. Without going into details, I can say with all respect that Mateusz Molęda conducted the piece from any point of view absolutely excellent, in the spirit of Beethoven, concerning the character, expression and tempos. ...“
Kazimierz Rozbicki, Tygodnik Koszaliński - November 7, 2014