The critics have written the following about Paul Mauffray:
“Mauffray’s chamber-sized ensemble, drawn from the ranks of the Louisiana Philharmonic Orchestra, was joined by the Symphony Chorus of New Orleans, and a cast of pleasing soloists to bring ‘Tabasco’ back to life for the first time in 120 years. The hour-long taste of the work left the audience eager for more. ...
“Mauffray’s repeat appearance was made thanks to his earlier successful performance as guest conductor. His admirable Czech, sympathetic delivery, and his sensitivity to the music won the audience’s attention.”
- Hradecke noviny, Czech Rep. Jan. 24, 2002
“The young guest conductor Paul Mauffray engaged in the Bavarian meter changes with agility [Werner Egk]. Rhythmically gifted, as American musicians are, he quickly slipped into the Bavarian costume. Mauffray succeeded in bringing together the stoicism of the rhythmically ticking percussion [Ravel -Boléro], as well as the harmonically more and more bizarrely overlaid instrumental textures, to such a well-planned climax, that the orgiastic release with the famous ‘break point’ arrived right on time and led to wildly enthusiastic applause.”
- Augsburger Allgemeine, April 4, 2001
“Mauffray’s chamber-sized ensemble, drawn from the ranks of the Louisiana Philharmonic Orchestra, was joined by the Symphony Chorus of New Orleans, and a cast of pleasing soloists to bring ‘Tabasco’ back to life for the first time in 120 years. The hour-long taste of the work left the audience eager for more. ...
Throughout, Mauffray drove the work with a sprightly pace and a nice attention to the colorful details Chadwick has woven throughout the score.”
- Theodore P. Mahne, The Times-Picayune, March 18, 2014
- Hradecke noviny, Czech Rep. Jan. 24, 2002
“The young guest conductor Paul Mauffray engaged in the Bavarian meter changes with agility [Werner Egk]. Rhythmically gifted, as American musicians are, he quickly slipped into the Bavarian costume. Mauffray succeeded in bringing together the stoicism of the rhythmically ticking percussion [Ravel -Boléro], as well as the harmonically more and more bizarrely overlaid instrumental textures, to such a well-planned climax, that the orgiastic release with the famous ‘break point’ arrived right on time and led to wildly enthusiastic applause.”- Augsburger Allgemeine, April 4, 2001
“An exceptional performance that the strings of the Orchestre National de Lyon, under the eloquent conducting of Paul Mauffray, raised to its zenith.”
- Fabrice Arfi, Lyon Figaro, March 3, 2001
“In the pit, guest conductor Paul Mauffray led the Oakland East Bay Symphony in a crisp, flexible rendering of the Tchaikovsky score.”
- Allan Ulrich, San Francisco Chronicle, Dec. 14, 2000
“Mauffray shined foremost with a clear sense of style, precision, maximum expression, and naturalness in every piece, whether it was the effective Tchaikovsky, polyphonic Mahler, impressionistic Vaughan-Williams, or the academic festive Brahms. The entire evening’s concept deserved admiration, and the theme ‘Folk Song in the Symphony’ under Mauffray’s inspiring direction became at once completely clear. The philharmonic came together for an extraordinary performance and played for their lives. The director of the Hradec ensemble said that ‘Paul Mauffray wants to be a Czech Bernstein!’, and he is succeeding without any reservation.”
- Jiri Vanicek, Mlada Fronta Dnes, Feb. 9, 2000
“The conductor gave his commentary in Czech. This along with his conducting wasn’t the only thing with which he dazzled. During the concert he performed many excerpts on the piano from the orchestra works, among which he played the Tchaikovsky in an especially stunning manner!”
- Marcela Chadimova, Hradecke Noviny Feb. 4, 2000
“Conductor Paul Mauffray, making his professional American debut after working in Europe for the past few years, has a deft feel for the music, adding pep and paying close attention to the intricacies of the orchestration.”
- Ted Mahne, Times-Picayune, New Orleans, Feb. 25, 2000
“His inner relationship to the composition was more than clear. Mauffray showed the listeners an entire spectrum of artistic qualities. His spirited ‘Firebird’ was indeed a real experience!”
- Mlada Fronta Dnes, Czech Republic, Feb. 23, 1999
“Alone the conductor is a show! He raged, danced, and with the gestures of his whole body he animated his musicians to peak performance.”
“Alone the conductor is a show! He raged, danced, and with the gestures of his whole body he animated his musicians to peak performance.”
- The Haldensleben People’s Voice, Germany, Aug. 16, 1996
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