CHOSEI KOMATSU, Conductor
Artistic Director, National Symphony Orchestra of Costa Rica
Music Director, Central Aichi Symphony Orchestra
E-mail: ckomatsu@aol.com

BALTIMORE SYMPHONY ORCHESTRA
	Komatsu conducts with a good deal of discipline and control, but he knew how to surrender to the flow of the music. His music-making was broad, long-breathed and exciting, with individual phrases lovingly molded. There was both freedom and a sense of steady, purposeful impetus. THE BALTIMORE SUN (USA)

NATIONAL SYMPHONY ORCHESTRA OF COSTA RICA

Komatsu and the orchestra presented an exciting and magnificent reading of the Fifth Symphony of Tchaikovsky. In it, they excelled in lustrous and powerful sound; the concentrated integration and calibrated dynamic equilibrium of the sections; and phrases developed in a manner resolute, connected and with uninterrupted rhythmic propulsion, even in the slower passages. To these satisfied musical challenges, one must add the discreet and handsome deportment of the director on the podium and his precise baton technique.
LA NACION (SAN JOSE, COSTA RICA)

BUFFALO PHILHARMONIC ORCHESTRA
	Performances directed by Komatsu have been consistently interesting and have revealed sensitive individual insights into the composers’ musical messages. Komatsu seems truly “called” to the conducting profession. THE BUFFALO NEWS (USA)

KITCHENER-WATERLOO SYMPHONY
	If the overall level of playing exhibited during the concert represents the Kitchener-Waterloo Symphony Orchestra’s current standard, Chosei Komatsu has earned a deep Japanese bow of respect. THE TORONTO STAR (CANADA)

CENTRAL AICHI SYMPHONY ORCHESTRA

From the outset [Mendelssohn's Symphony No. 3 ? “Scottish”], it was clear that Komatsu was committed to revealing every element of the composition in a thorough and convincing manner.? At the same time, he allowed the orchestra to sing?melodies in long breaths, full of emotion.? Under the new leadership of Komatsu, the Central Aichi Symphony Orchestra seems to have been elevated to a new level, characterized?as having focused and profound sound and superb ensemble which is full of life.
ONGAKU-NO-TOMO (JAPAN)

TOKYO PHILHARMONIC ORCHESTRA
	Chosei Komatsu’s musicality is like a young sapling growing straight. It is simple, very clear, and free from pretentiousness and hesitation. There is a supreme honesty, which is his unique gift. MAINICHI NEWSPAPER (TOKYO, JAPAN)

YAMAGATA SYMPHONY ORCHESTRA

Komatsu, especially in the fourth movement [Dvorak's Symphony No.6], drew?forth the utmost ability from the Yamagata Symphony musicians.? Komatsu chose fast tempos, yet the orchestra’s sound never became muddled or uncontrolled, in spite of the musicians’ great excitement. Each section and instrument was clearly heard, and ensemble was tight to the very end. It was simply amazing.
YAMAGATA NEWSPAPER (JAPAN)

BUFFALO PHILHARMONIC ORCHESTRA
	Komatsu’s cueing is clear, his beat secure, and there is evidence of very thorough preparation. He also seems to know exactly what he wants and how to get it, but all filtered through the eyes, ears and hands of a very distinct musical personality. He seems motivated from deep inner impulse tempered with discipline. THE BUFFALO NEWS (USA)

JAPAN PHILHARMONIC ORCHESTRA
	Komatsu demonstrated depth of interpretation and refined sensitivity, showing gracefulness, elegance and much nuance. It was such a deep performance that it penetrated one’s soul. MAINICHI NEWSPAPER (TOKYO, JAPAN)

KANSAI PHILHARMONIC ORCHESTRA
	It is clear that Komatsu possesses a deep understanding of this composition [Rachmaninoff’s Symphony #2], and that he has a special gift for inspiring the orchestra to play its very best. ONGAKU-NO-TOMO (JAPAN)

KITCHENER-WATERLOO SYMPHONY
	When the strings ripped into the opening measures of Strauss’ pulse-pumping Don Juan, the collective purpose of Komatsu and the musicians was extraordinary. It’s difficult to recall an event like Friday’s Strauss. Thrilling from start to finish, Komatsu and the players brought informed emotion to this note-dense, extreme range, to-the-max score. THE RECORD (KITCHENER, ONTARIO, CANADA)

EDMONTON SYMPHONY ORCHESTRA
	Komatsu speaks brilliantly for Mendelssohn’s “Reformation” Symphony. Conducting without a score, Komatsu’s reading, and the performance he got from the orchestra, was nothing short of impressive. It was a gem of control and release, with fine attention to all the details. THE EDMONTON JOURNAL (CANADA)

CENTRAL AICHI SYMPHONY ORCHESTRA
	The Central Aichi Symphony Orchestra and Komatsu obviously have successfully solidified their relationship in a manner in which Komatsu comfortably?and naturally commands the orchestra without forcefully leading.? The performance of the Enigma Variations was expansive, passionate, transparent, and truly compelling. ONGAKU-NO-TOMO (JAPAN)

NATIONAL SYMPHONY ORCHESTRA OF COSTA RICA

Chosei Komatsu, the NSO and the National Symphony Chorus presented a magnificent and well executed version of the work [Mahler’s Symphony No.2]: the initial funeral march, powerful and heroic; in contrast, the second movement, rhythmic and light; in the third, the lines of irony and bitterness suggested in a subtle way; the fourth, at the same time serious and ethereal; the fifth, overwhelming and imposing.

The finale of the Resurrection caused a thunderous ovation from the large audience, which was nine minutes in duration.
LA NACION (SAN JOSE, COSTA RICA)