Detroit Symphony Orchestra – “Yet the evening’s ultimate pleasure arrived in the person of Sir Angel Romero, guitarist extraordinaire, who collaborated with (JoAnn) Falletta and company in a reading of Joaquin Rodrigo’s “Concierto de Aranjuez” that lit up the work’s bewitching facets of fire, tenderness and joy. Then Romero added a still more brilliant encore, a blazing account of his father Celedonio Romero’s “Fantasia,” a virtuoso flight that had to be seen to be fully appreciated.”
- The Detroit News

“Equipped with a fluid baton technique and an expressive left hand, he coaxed and cajoled the musicians into giving him what he wanted. At times, as in the Beethoven (Seventh Symphony), he leaned forward as if to pull the sound from the players and their instruments…the excitement was undeniable, prompting many in Friday’s audience to respond with enthusiastic appreciation. He brought welcome verve to the occasion. And his confidence in conducting the 46 minute long performance from memory was further evidence of an uncommonly gifted, and versatile musician.”
- San Diego Union-Tribune

“The handsome Romero charmed his orchestra, eliciting nods, smiles and strong body language from principal players…The Mozart Divertimento was light-hearted but full of energy. Romero seems to love life and have fun with it. He brings his own personality to the stage, reminiscent of the late Leonard Bernstein, who could coax superior work from his orchestra…Romero is serious about the music but wants it it to be enjoyed, not just performed. His style of conducting reflects that, with unconventional gestures, exaggerated cues and shifts in emphasis that only a talented and well-rehearsed orchestra could match.”
- Arizona Daily Sun

“As guest soloist and guest conductor of the Reno Chamber Orchestra, Romero was much more than a celebrated guitarist. That he demonstrated a sensitive and highly lyric approach to all he played was to be expected. That he also conducted with the same precision and nobility of spirit was a major plus. Romero conducted one of Reno’s most musically rewarding concerts in memory.”
- Jack Neal’s Music Reviews

“It is perhaps to the credit of guest conductor Angel Romero, he of the famous Spanish guitar family, that the strings sounded so well rehearsed and so passionate. From the stately opening of the Handel piece, crisp, well-judged tempi and clean attacks prevailed. Details of dynamics and phrasing were nicely observed. This was no anemic “authentic” Handel with baroque bowing techniques, but a robust and highly satisfying reading that characterized Romero’s overall approach to everything. I don’t think I have ever heard the San Diego Chamber Orchestra strings playing so well.”
- sandiego.com

“Romero’s taste for assertive playing was apparent in the way he brought out the intensity of the opening section of Handel’s Concerto Grosso, Opus 6, No. 10. His enthusiasm for brisk tempos was evident during peppy passages in Grieg’s “Holberg Suite.” But Romero also savored subtlety. He emphasized the alluring rhythms and tone colors of Turina’s “La Oracion del Torero.” The Spanish composer’s 1927 piece for string orchestra was alive with tremolos, pizzicatos, chromanticism and impressionism.”
- San Diego Union-Tribune

“Maestro Romero’s enthusiasm as a conductor was transferred to both orchestra and audience. He possesses a formidable guitar technique and thoroughly enjoys making music. Following his solo performance he emerged as a most commanding conductor, shaping the picturesque sounds of “El amor brujo” in an engaging manner. The (Chicago) Sinfonietta responded with the most introspective playing of the evening.”
- The Chicago Crusader

“But the real story of the evening lay in the performance of Romero. He appeared with his guitar, made his adjustments to his seating, tuned up carefully, pocketed his glasses and then lit into the Rodrigo with the energy of a young man in love. His face shone. His body swayed. His fingers flew over the fingerboard with great precision.”
- Fresno Bee

“Unlike many younger players, he felt no need to display technique for its own sake. He had it in abundance, and he used it unobtrusively in the service of the music.”
- The Washington Post

“Guitarist Angel Romero’s playing in “Concierto Aranjuez” was beyond reproach. Since he first recorded it in the 70s, he has made it his own. Every pluck, ornament, chord and arpeggio unfolded flawlessly and viscerally.”
- The Birmingham News

New York Philharmonic – “Lovely accuracy, sweet tone and elegance.”
- The New York Times

“A musician of rare quality, blandishing in his attacks, warm and insinuating in his phrasing.”
- The Los Angeles Times

Pittsburgh Symphony – “Technical prowess, earnestness of purpose and sensitivity to the music.”
- Pittsburgh Press

“His Spanish guitar music vibrates with the heroic digital work and high coloration associated with the repertory.”
- Time Magazine

Cleveland Orchestra – “He played with clarity and crispness. In slow lyrical movements, he produced a lovely, singing tone, especially full and round in the lower register. His interpretations were simple, direct and tasteful.”
- The Plain Dealer

London Philharmonic Orchestra – “These were the finest live performances of the works in question ever heard in London: clean, strong, eloquently phrased and delivered with unfailing beautiful tone.”
- Music and Musicians

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