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“[With] this engaging and charismatic conductor….. you feel the music is speaking directly from each composer’s language,….each section sounding like a single precision instrument pitted against other groups. From the [Firebird’s] dark and menacing beginning to the exhilaration of the “Final Hymn,” this reviewer was entranced. Conductor Gaylin kept the tension of the line while maintaining suspense. This marvelous orchestra is a must see, or rather must hear.”

– Steven Romano Mento, The Press of Atlantic City

“Jed Gaylin’s conducting was consistently impressive, with a propulsive sweep that allowed the lyricism to linger.”

– Tim Smith, The Baltimore Sun

“In Webern’s deliciously off-beat transcription of Bach’s Ricecare and even more so in Schubert’s Unfinished Symphony, Gaylin inspired a determined expressiveness. Outbursts in the Schubert work packed considerable weight, effectively underlining the dark beauty of the music.”

– Tim Smith, Baltimore Sun

“The comic and tragic elements of the work were deftly balanced…The orchestra under the baton of Jed Gaylin offered finely focused sounds that belied its small size.”

– Karyl Charna Lynn, Opera Now!

“An extraordinary concert. . . . The Lodz Philharmonic gave an unforgettable performance under the direction of Jed Gaylin. . . . The Symphony No. 36 by Mozart proved a highpoint, where the calibration of the various orchestral parts was totally clear, and where the lines were beautifully handed from one instrument to another. From oboes to bassoons as well as. . . . strings, each voice arose with care and distinction from out of the orchestral fabric. Above all, one felt the unconditional devotion with which the Orchestra followed Jed Gaylin. . . . It was for all present an unforgettable evening. . . .”

Basler Zeitung, (Switzerland)

“Opera is all about the music, and the orchestra here is led by Jed Gaylin, Music Director of Hopkins Symphony Orchestra, who kept the glorious strings and winds on a tight rein, filling the soaring cathedral ceiling of the Mount Vernon church without overpowering the voices on stage. The singers were all extraordinary, adding personality and flare to their characters.”

– Wendy Ward, City Paper

“American Conductor Jed Gaylin opened the concert with a performance Hungarian Dances numbers 5,6,7 that captivated the audience from the first note with a natural intense rhythm, beautiful dynamics, with deep pathos and an unstoppable “joie de vivre….” With [Brahms’] Symphony #3 in F, op.90….Conductor Jed Gaylin gave an attentive, passionate, and expressive performance. The whole interpretation was well-conceived and with excellent results achieved–a fitting and inspired conclusion to this high-level and spectacular musical event….”

– Vasile Scutea, Sibiu Tribuna (Romania)

“VINELAND – Ordinarily, one might have to leave New Jersey to hear a concert like Saturday’s performance by the Bay-Atlantic Symphony. Here was world-class conducting and (except for occasional slight inaccuracies of pitch with the violinists) a world-class orchestra…..[Jed Gaylin’s] directions from the podium were always clear and fluid …. The orchestra was a glorious accompanist….Both soloist and orchestra sounded well-rehearsed, organized, and able to hush on a dime, turn out ever-broadening passages and lend touching lyricism everywhere….Such a sensational first half appeared difficult to follow, but Gaylin had much more magic to come. The presentation of [Mother Goose was] engaging and articulate… and this evening’s performance demonstrated just how exalted, perhaps even “holy” this finale can be….”Janitzio” of Sylvester Revueltas was a raucous and entertaining romp with a spacious contrasting middle section vividly characterized by the players, and the evening ended with the “Danse Bacchanale” from “Samson and Delilah” of Camille Saint-Saens. This colorful work was brought to life with great exuberance and unity, and it seemed as if I were hearing these familiar strains for the first time. It was an exceptional end to a superbly organized and executed program. Bravissimo”.

– Steven Romano Mento, The Press of Atlantic City

“[In Gaetano Panariello’s Omaggio all’opera buffa] pizzicato from the strings and snappy, colorful contributions from the percussion gave the finale momentum, with the impression of brightly colored sets changing quickly behind the soloists. Rossini’s overture to The Barber of Seville had the appropriate sense of bluster to open the program, with energy behind flurrying melodies and lovely solos from clarinet, oboe and horn dovetailed nicely. To close the program, Mendelssohn’s Italian Symphony was handled warmly and sensitively….The driving woodwind rhythms in the opening Allegro were perfectly pointed, and concertmaster Ruotao Mao led the strings with a crystalline tone. The middle movements had the marvelous quality of Bach’s music, where, even when the tempos are slow, there’s a churning sense of motion. The musicians played the Presto finale with exuberance and vitality, the snaking lines firmly in their grasp.”

– Dave Allen, Courier-Post

Bay-Atlantic Symphony: “. . . a joyous, spirited rendition of Beethoven’s 9th Symphony. Jed Gaylin’s strong conducting style and attention to detail brought everything together on stage. His tempi were precise and sensible, and the dynamic ranges ebbed and flowed. I consider Mr. Gaylin to be one of southern New Jersey’s greatest musical treasures.. . . and I thoroughly enjoy watching him conduct. . . . This performance was filled with gorgeous playing in the third movement. Expression and feeling were infused in the long lines and in the interplay between bassoon, flute, oboe. . . .The strings allowed the floating melodies to hover at the surface. . . . Jed Gaylin assembles wonderfully talented artists, and the lineup for this performance was no exception. . . . a wonderfully matched and first rate quartet. Chorus members gave a shaped, emotionally committed performance. Disciplined dynamics and accurate attention to the conductor gave the singers a round, rich sound.”

– JeanMarie Tissot, Classical New Jersey