"Kanye meets Beethoven: How young musicians are mixing classical with pop."   Mark Swed,  Los Angeles Times

"What Classical Music Can Learn From Kanye West." Spencer Kornhaber, The Atlantic

"How a Live Orchestra Is Showing Off Another Side of K-Pop Greats Like BTS and BLACKPINK." Raisa Bruner, Time

"How a Live Orchestra Is Mashing Up Kanye West and Beethoven." Raisa Bruner, Time

"‘Yeethoven’ Concert to Juxtapose Music of Kanye West, Beethoven ." Britanny Spanos, Rolling Stone

"NEW NOISE: JOHAN LENOX ." Wonderland

"Nothing Like Reality to Break Up a Party ." Andy Webster, The New York Times

"Theater: Independents Sails to Success at FringeNYC ." Michael Glitz, HuffPost

"Strongest was Stephen Feigenbaum's “Angel,” which gave the impression of a pastel color-field painting approached across a vast room, its placid surfaces only gradually revealing minuscule bubbles, pocks and fissures." Steve Smith, The New York Times

"... inventively avoided one trap of writing for a stringed instrument and the piano: Instead of allowing the cello to sound like the principal instrument, with the piano as its accompaniment, he built his “Suspended Animation” (2010) on the tension between a lyrical cello line and aggressive piano writing." Allan Kozinn, The New York Times

"... delicious musical creations ..." NPR

"The Pops' sound in the neo-romantic Serenade for Strings ... has the power and sheen that Kunzel has cultivated over each of his 89 Telarc recordings." Janelle Gelfand, Cincinnati.com

" well crafted and written with an understanding of strings" Nick Barnard, MusicWeb International

Television interview with Mike Nikitas, NECN

SIC inC performance on Q2 radio, New York

"The highlight of the evening was ... Stephen Feignbaum's Speak, Sing, Whale ... " Eve Rifkah, Classical Voice of New England

" ... you can hear a distinctive voice taking shape ..." Allan Kozinn, The New York Times

“Songs of Sorrow and Hope ... a thoughtful and earnest setting ..." Jeremy Eichler, The Boston Globe

"Drawing from both chugging Steve Reich minimalism and Igor Stravinsky chord stabs, Feigenbaum nicely varied his approach, with the whale sounds sometimes submerged within the orchestra and at others breaking the surface for a solo." Kevin Lowenthal, The Boston Globe

"... Tread ... played with repeated notes that were buried in different harmonies and jagged rhythms, yet sweetly resolving dissonances, ending in an open cadence on the fifth." Mary Wallace Davidson, The Boston Musical Intelligencer