Album of the week. “The majestic aerial ballet of Andean condors inspired Lopez's more rigorous cello concerto, "Lord of the Air," which Jesus Castro-Balbi, the virtuosic cellist to whom it is dedicated, dispatches with palpable intensity.”

John Von Rhein, Chicago Tribune

“The most impressive piece here is “Lord of the Air”, a cello concerto inspired by the Andean condor. It opens in urgent but unstable manner, with gifted cellist Jesus Castro-Balbi and the Norwegian Radio Orchestra swapping phrases and flourishes, until a pulsing orchestral ostinato aids lift-off.”

The Independent (UK)

“Inspired by the majestic flight of the Andean condor, Lord of the Air (2012) is a cello concerto of unusually cunning design – its ominous opening movement a prelude to the incisive scherzo, succeeded by a slow movement whose impassive eloquence amply evokes the ‘Soaring the Heights’ of its title, before the finale makes terse reference to earlier ideas in a ‘Homecoming’ of tensile resolve. Committed playing by Jesús Castro-Balbi, and unarguably idiomatic response from the Norwegian Radio Orchestra under the watchful guidance of Miguel Harth-Bedoya.”

Richard Whitehouse, Gramophone (UK)

“Bold and colorful.”

Fionna Maddocks, The Guardian (UK)

“Lord of the Air is a highly creative concerto for cello and orchestra based on images of the great primitive Andean bird, the condor. There are four movements here that depict various aspects of the condor’s behaviors and the sense one gets while watching the great bird soar. Soloist Jesus Castro- Balbi, for whom the work was written, does an excellent job with both the technical demands of this piece but also in portraying the imposing majesty of this creature. This is a truly exciting and captivating piece!”

Daniel Coombs, Audiophile Audition

Further Critical Acclaim

“Musical Treats: The Blue Candlelight Music Series season opens with an excellent concert featuring cellist Jesús Castro-Balbi and pianist Alexander Tselyakov. […] Castro-Balbi has a captivating tone and rich, sustained vibrato optimal for Brahms. […] One of the finest Blue Candlelight performances I’ve heard to date.”

Robin Coffelt, www.theaterjones.com

“An excellent cello/piano duo recital […] Mr. Castro-Balbi’s phrasing was very personal and convincing; he possesses a beautiful vibrato and legato, with ample use of slides. The third movement [of Chopin Sonata]: Largo, was a gorgeous, meditative gem in their hands. The pair played Martinů’s Cello Sonata No. 2, H. 286. Here, Ms. Lin provided crisp, clear, exciting, and meticulous articulation in the difficult first movement, and throughout. This performance made a somewhat difficult work easily graspable to the many listeners who I’m sure had never heard it before. They achieved tragic grandeur in the slow movement. Joaquín Nin’s Seguida Española is not often heard, but it should be. […] Beautifully done. The duo concluded with Castelnuovo-Tedesco’s difficult riot of a romp based on the famous aria from Rossini’s Il Barbiere di Siviglia: “Largo al factotum.” […] Not only were the technique and ensemble perfect, but the players exhibited an all-too-rare quality in many of today’s music makers: genuine wit. […] The poignant “Nana,” [by de Falla] had everything, haunting in its spontaneous phrasing by Mr. Castro-Balbi.”

Frank Daykin, New York Concert Review,

Performance with the Lin / Castro-Balbi Duo

Weill Hall at Carnegie Hall, New York

“The Dallas-based ensemble has made regular autumn New York appearances for several years. I have reviewed their performances favorably in these pages before, but this concert, with Figueroa as guest artist, was surely the finest of their series to date. The programme seemed ideally balanced. Haydn's Trio in C Major, Hob. XV: 21 was a welcome opener. Pianist David Korevaar, violinist Arkady Fomin, and cellist Jesús Castro-Balbi collaborated on a lively and spirited account in which full value was given to its more reflective measures. Fomin and Castro-Balbi were heard next in Kodály's Duo, Op. 7 and both players were energetic, expressively eloquent and alert to the shifting colours. The central Adagio found them at their very best. […] a carefully prepared, compelling performance. Balance among the four was ideal, without a wasted motion throughout.”

Dennis Rooney, The Strad Magazine (UK)

Performance with the Clavier Trio and Guillermo Figueroa

Weill Hall at Carnegie Hall, New York

“[…] a particularly congenial atmosphere in which there were no major egos and everyone was happy to share their time and wisdom. […] Castro-Balbi […] certainly has ambitions for the festival, the imagination, and the drive to keep it moving forward. This was the biennial event’s fourth incarnation, and each one has had more features.”

Ariane Todes, The Strad Magazine (UK)

“A beautifully conceived program of music for cello and piano. [Cellist Castro-Balbi and pianist Gloria Lin] have performed widely as individuals, but their musical marriage adds a special dimension to their careers, both as performers and as faculty members at Texas Christian University in Fort Worth, Texas. […] An excellent recital.”

Rorianne Schrade, New York Concert Review

Performance with the Lin / Castro-Balbi Duo

Weill Hall at Carnegie Hall, New York

“This trio is absolutely without question world-class. […] The cellist was absolutely remarkable.”

Robin McNeil, Opus Colorado

Performance with the Clavier Trio

U. of Colorado at Boulder

“Castro-Balbi uses a persuasively light touch keeping with the program, and Lin matches him in delicacy, with passages tumbling over one another in playfulness. Adroit musicianship aside, the duo shows admirable scholarship in excavating this repertoire.”

Bruce Hodges, The Juilliard Journal

Rapsodia Latina (Filarmonika)

Compact disc recording with Gloria Lin

“The Clavier Trio, based in Dallas, Texas, has been playing annual concerts in New York for several years […] and has shown steady tonal improvement, particularly the partnership between violinist Arkady Fomin and cellist Jesús Castro-Balbi, which is characterized by rare musical and tonal agreement.”

Dennis Rooney, The Strad Magazine

Performance with the Clavier Trio

Weill Hall at Carnegie Hall, New York,

“[…] exceptionally good. The trio’s highly polished ensemble work was in evidence, as Beethoven’s rhythmic nuances and subtle complexities were unusually clear. In Ravel’s masterful trio from 1914, the passion amongst the players was infectious. […] Its more tender moments sounded as though Ravel was on stage talking to us from the heart.”

Anthony Aibel, New York Concert Review

Performance with the Clavier Trio

Weill Hall at Carnegie Hall, New York

“[Castro-Balbi] got an ecstatic reaction, including a couple of standing ovations before and after he played an encore.”

Patricia Miller, The Durango Herald

Tchaikovsky “Rococo Variations”

Music in the Mountains Festival Orchestra / Mischa Semanitzky

Festival Tent, Durango, Colorado

“An outstanding rendition of the Concerto Indio for violoncello and orchestra by Peruvian composer Edgar Valcárcel. [Castro-Balbi] masterly performed the difficult and expressive techniques of the composition. Castro-Balbi’s talent was more than evident. The dialogue between the soloist and the orchestra was brilliant.”

El Vocero (Puerto Rico)

Edgar Valcárcel’s Concierto Indio

TCU Symphony Orchestra / Germán Gutiérrez

San Juan, Puerto Rico

“By far the best part of a good evening was an international-class performance of Dvorák's Cello Concerto. An exceptional cellist, Jesús Castro-Balbi […] created magic with an approach that was bold when it had to be but often mellow and always subtle. His experience as a chamber musician showed in his interaction with the orchestra, most notably in some wonderful interplay in the final movement between him and [the] concertmaster.”

Olin Chism, The Dallas Morning News

Dvorák Cello Concerto

Fort Worth Symphony Orchestra / Miguel Harth-Bedoya

Bass Performance Hall, Fort Worth

“Jesús Castro-Balbi turned in a performance worthy of any concert stage in the world. […] Castro- Balbi proved himself an artist of the first rank, from the first dark, ear-grabbing notes he played in Dvořák’s Cello Concerto in B minor. […] Castro-Balbi turned in a performance that will be remembered for years to come. He commanded a huge range of volume, timbre and emotions, by turn whispering, proclaiming or reminiscing.”

Wayne Lee Gay, The Star-Telegram

Dvorák Cello Concerto

Fort Worth Symphony Orchestra / Miguel Harth-Bedoya

“[Castro-Balbi and Kraggerud] achieved a perfect unity of execution. Their performance sparkled with zest and was overflowing with amazing details. […] At one and the same time the soloists established a world of their own and were an integrated part of the ‘universe’ of the work, they were one with the orchestra and the conductor.”

Arhus Stiftstidende (Denmark)

Brahms Double Concerto

Aarhus Symphony Orchestra / Giancarlo Andretta / Henning Kraggerud

Aarhus, Denmark

“The two soloists […] were playing with both empathy and catching musicality. A great performance by the two young talents who were rewarded with standing ovations – fully deserved.”

Morgenavisen Jyllands-Posten (Denmark)

Brahms Double Concerto

Aarhus Symphony Orchestra / Giancarlo Andretta / Henning Kraggerud

Aarhus, Denmark

“[Castro-Balbi and Prieto] play with the natural affinity of people conversing in their native tongue. Their identification with the styles and idiomatic inflections is complete; their commitment and dedication to the music and the composer speak through every note.”

Strings Magazine

Samuel Zyman Suite for Two Cellos