“Rotterdam Philharmonic Orchestra and De Doelen opened their season with a carte blanche for queer conductor Manoj Kamps. […] In this piece (Prélude à l’après-midi d’un faune) Debussy most resembles Ravel and Kamps captured that beautifully. […] Kamps’ debut with the Rotterdam Philharmonic Orchestra could not have ended better.”

“True, the amplified sound couldn’t be called silky, but that did nothing to stem the stamina and co-ordination of the musicians and the conductor Manoj Kamps, effortlessly guiding a crack team through a score as unstoppable as Niagara Falls.”

“Reich’s mathematical rigour has the intensity of Bach, and produces – as so often in Bach – uplifting, joyously optimistic music, particularly in the opening and closing sections of Reich/Richter. Conductor Manoj Kamps was the cool head who kept it all together so triumphantly.”

“Variously sized groups of players from the London Sinfonietta, conducted by Manoj Kamps, displayed their expertise.”

“the conductor Manoj Kamps, effortlessly guiding a crack team through a score as unstoppable as Niagara Falls”

“Perhaps the success is primarily due to Kamps. He is frail and elegant in appearance, almost like a ballet dancer as he conducts. He gets a beautiful sound from the Netherlands Philharmonic Orchestra. The orchestra members are spaced apart, but still produce a homogeneous sound. On stage, in addition to four young soloists (sopranos Olga Busuioc and Fang Fang Kong, mezzo-soprano Polly Leech and baritone Martin Mkhize), there are two choirs at work: the Choir of the National Opera and a large children’s choir. But the sound comes all the way around. Part of the opera choir is located on the second balcony across the entire width of the hall, with wind instruments on the left and right. Kamps knows how to keep it all together and make it sound great.” [translated from Italian]

“Kamps’ delicate figure radiates tranquility, with a simultaneously graceful and powerful way of conducting that makes the transitions between completely different music styles feel entirely natural.” [translated from Dutch]

“Beautifully sung by the children’s choir, the large choir at the top of the theater, and compellingly conducted by Kamps. Then: a parade of joyful associations with music and stories from all corners of the world. Kamps keeps everything together amazingly well and wonderfully leads the Netherlands Philharmonic Orchestra through what is very atypical material for them. The highlight of the evening was the performance of Vivier’s “Lonely Child”” [translated from Dutch]

“…Stravinsky [The Rite of Spring] with remarkable authority and panache… you were nevertheless asked what a highly regarded young conductor would make of the Stravinsky cornerstone in the large repertoire. I didn’t think it would be so good. Kamps wants to relive the primal experience. It was lightning and hunting, devouring and swearing roughly moved but crystal clear, a remarkable synthesis of action painting and fine painting. There is certainly more talent, but this performance was impressive proof that symphony orchestras should ask Kamps for the prestige pieces as soon as possible before he leaves for countries where they can.” [translated from Dutch]

“The main thing is: you hear and see that Manoj Kamps is a great talent.” [translated from Dutch]

“The chamber orchestra The Knights, wielding not just Western instruments but a variety of jangly Tibetan ones, realized Clearfield’s ever-changing orchestral textures superbly under the attentive direction of Manoj Kamps.”

“The score is intensely detailed and challenging… The execution was guided with precise and attentive baton of Manoj Kamps” [Translated from Spanish]