‘Chichon gave us a memorable Mahler Symphony No. 2. Vehement, but with great attention to detail, Chichon was joined by a Gran Canaria Philharmonic in splendid form’

Ritmo, February 2024

‘Chichon more than surpassed the transcendence of the piece, from its deep despair to the shades of light and hope. The Gran Canarian ensemble is going through a period of splendour, and the fans know it and reward it. Chichon marked something similar to an overwhelming earthquake, but full of nuances.’

Opera Actual, January 2024

‘Chichon is a superb and sensitive interpreter of this music, the players of the orchestra provide brilliance, power and elegance as required. Chichon’s tender and expressive shaping of lyrical phrases is a recurring feature of the whole disc. There is a disarming simplicity that works wonderfully.’

Musicweb International, July 2018

‘His new recording of suites from Stravinsky’s The Firebird, Prokofiev’s Romeo and Juliet, and Manuel de Falla’s The Three Cornered Hat propels him into a different category of conductor: commanding, electrifying, utterly individual, with his German Radio Philharmonic playing as those possessed. A surprising and possibly career-altering album.’

Fanfare Magazine, December 2018

‘The brass intonation is precise, the strings sound soft and warm. The musicians follow Chichon’s instructions with absolute devotion. Not only does Chichon watch over every sound, everything has to fit in with him.’

Kurier.at, October 2018

‘Ana Maria Martinez’s artful restraint was matched by those around her, including the conductor Karel Mark Chichon, who made his company debut with a performance that kept the drama flowing inexorably forward, cutting the saccharine without stinting on Puccini’s lushness’

New York Times, February 2016

‘Mr. Chichon’s debut demonstrated he is a very fine artist, able to coax delicate impressionistic tone color from the massive Met orchestra. Madama Butterfly is one of the world’s most popular operas, but it doesn’t play itself; it takes a perceptive maestro like Mr. Chichon to present this score at its best’

New York Observer, February 2016

‘Karel Mark Chichon, in his debut on the Met podium, conducts a robust reading of the score… he elicits all of the pathos in the music, especially in the Intermezzo between the two scenes of Act 2 and the so-called “Humming Chorus” as Cio-cio-san settles to wait for Pinkerton’s return.’

Huffington Post, March 2016

“The extreme contrasts within the overture were dramatic. What is clear: Chichon is a conductor who does not bore the listeners! The beautiful playing of the orchestra’s dialogue with Kavakos was astonishing…”

“The conductor Antonio Pappano, to whom the disgruntled audience had been eagerly waiting to see, was replaced by Karel Mark Chichon. But their annoyance disappeared instantly at the start of the Overture: there were bold tempo changes, a fine characterization of the pathos in the strings and poignant lines in clarinet and oboe. This man knows what he wants. The Second symphony of Borodin showed that (Chichon) had established an intimate contact with the orchestra in this first encounter.”

“Die Spielzeit der Deutschen Radio Philharmonie ist noch nicht zu Ende, doch mit einer überragenden Interpretation von Mahlers Sinfonie Nr. 2 („Auferstehungssinfonie“) krönte Chefdirigent Karel Mark Chichon nun die Saison.”

On this occasion conducted by the British conductor Karel Mark Chichon, who was able to bring out all the talents of the soprano Kristine Opolais in the title role.

Karel Mark Chichon, who was making his debut in these performances, conducted a classical performance of this work. The brief prelude was vibrant and energetic….His reading slowly became more intimate and crystalline, far away from excessive sonorities. Through the orchestral balance being conceived through the warmth of the strings of the orchestra, Chichon was detailed and subtle in the many interventions of the soloists in the orchestra and attentive with the singers…….his performance as a whole was impressive and was rewarded by considerable bravos from the audience.

Chichon maintained an effective representation of theater and drama…..he inadvertently took prominence and therefore was honest and allowed the voices  in the epicenter of  representation to sustain the voltage according to the way an opera should be conducted……. but went out with remarkable skill.

The London conductor Karel Mark Chichon in his debut at the MET succumbs to the  eternally seductive and sentimentality found in the music of Puccini’s most valuable asset, its stage nerve.

Much better captured the essence of musical theater and Butterfly conductor Karel Mark Chichon, who led the orchestra and choir in a precise characterization of the characters and plot changes with great emotional charge.

Under the baton of Karel Mark Chichon, Puccini’s music truly invades your soul.

Karel Mark Chichon gives Puccini’s marvelous score both detail and ample room to breathe.

British conductor Karel Mark Chichon made his Met debut in this run of Butterfly….he led a taut and wrenching performance that got everything Puccini needed from the Met’s great orchestra. The Met should definitely bring him back.

Karel Mark Chichon conducts an alert and precise performance, dramatic without being soppy,  drawing from the orchestra of the Metropolitan Opera shimmering sonorities.

Karel Mark Chichon (British despite the name) led the impeccable and virtuosic Met orchestra through a reading of the score which brought out all the passionate lyrical sweep, tension and drama in Puccini’s score.

‘Karel Mark Chichon, in his debut on the Met podium, conducts a robust reading of the score…..he elicits all of the pathos in the music, especially in the Intermezzo between the two scenes of Act 2 and the so-called “Humming Chorus” as Cio-cio-san settles to wait for Pinkerton’s return.’

March 2016

Also making a strong debut was conductor Karel Mark Chichon, who will be leading the orchestra throughout the season

‘Mr. Chichon’s debut demonstrated he is a very fine artist, able to coax delicate impressionistic tone color from the massive Met orchestra. Madama Butterfly is one of the world’s most popular operas, but it doesn’t play itself; it takes a perceptive maestro like Mr. Chichon to present this score at its best’

February 2016