“La Marsellesa”: - “Spectacular closing of the programmed Works, both due to the choice of the last one (the rescue of a historical zarzuela in three acts) and to the conclusion of the task undertaken by maestro Lorenzo Ramos at the head of the various seasons.”
(Ópera Actual, July-August 2011).
- “It can be said without hesitation that the recovery of this historical zarzuela, included within the great art of our very own hispanic lyrical genre, is a veritable cultural event […]. In this sense, the work of maestro Ramos is particulary laudable, having managed to bring out the highlights of the piece without losing the stability of its discourse.”
(Scherzo, July-August 2011).
“Così fan tutte”: - “What we saw and listened to last night is a sample of the current state of the nacional lyrical scene. Firstly, it is worthy of note that the musical director plays it safe when it comes to the cast of soloists, which seems the dominant note since his debut at the Cervantes […] The direct consequence of this line of work is the appreciation of a number of voices, with their very own name, which are the legacy of all those other artists which made it beyond our borders. There is no other way if we want to make a difference in the universe of the lyric.”
(La Opinión de Málaga, November 2010).
- “This worked well musically under the direction of Lorenzo Ramos, current artistic head of the lyrical Season of Teatro Cervantes, bringing the soloists as well as the choir and the orchestra to enhance the poetic character of the score, always looking for a soft transparency always appreciated by the true music lover, as could be seen from the positive response of the audience.”
(Ópera Actual, January 2011).
“Carmen”: - “Another reason for success comes hand in hand with the OFM, which offered a measured performance, somewhat conditioned by the limitations of the orchestral pit of the Teatro Cervantes. It was a clear and bright performance thanks to the baton of maestro Ramos whom, score in hand, successfully negotiated the overture and the different intermezzos, as well as dominated the orchestra in the accompaniment of the soloists and choir.”
(La Opinión de Málaga, June2010).
(Orquesta Sinfónica de Mulhouse): - “Mais c'est dans les Danzas fantásticas de Turina et les piéces de Chapí et Luna que l'Espagne est magnifiquement défendue par Lorenzo Ramos, chef invité. Les meilleures moments ont été incontestablement réunis dans la deuxiéme partie, où la notion de la zarzuela était déclinée très libremente.”
(DNA -Mulhouse-, Mayo de 2010).
“Cádiz”: - “Lorenzo Ramos appeared very implicated from his stand, and was the true spirit of the performance, with an enthusiastic conduction which doubtlessly inspired the good performance of the orchestra, specially during the well known “Constitutional March”.”
(Mundo Clásico, March 2010).
“Die Zauberflöte”: - “Mozart’s last opera, and possibly the most representative of his repertoire, has served as the presentation letter of Lorenzo Ramos, newly in charge of the operatic activity of the Teatro Cervantes in Málaga and who took on the musical direction of this last performance of the 2008-2009 season leaving us with a great feeling as a taster of future productions. We must look at his performance as the main cohesive factor: with a clear reading of the music and from the beauty within the score he managed to hold together the symbolic thread of this genius piece of work. […] To that end he armed himself with a neat sound, lacking in strident notes and merging with the rest of the elements of the action taking place on stage.”
(Scherzo, September 2009).
- “Another one of the main players was, undoubtedly, Lorenzo Ramos in his debut at the Teatro Cervantes. Maestro Ramos showed dedication, command of the orchestra and the choral ensemble, confidence and, above all, a particular interest in the details of the score.”
(La Opinión de Málaga, 28 June 2009).
(ORCAM): - “Specially remarkable is the performance history of young Lorenzo Ramos, clearly at ease over the podium, and who demonstrated a clear and efficient arm technique which achieved a magnificent concert at the head of the Orquesta de la Comunidad de Madrid. […] Ramos generously shared his rotund success with the orchestra.”
(Scherzo, April 2009).
(XV Ciclo de Música Contemporánea de Málaga): - “This brought us close to the well received conduction of Lorenzo Ramos. Clean moves, neatness and order are some of the adjectives that praise the virtues of the young conductor, especially when he faces manifestly difficult pieces with great bravura.”
(Málaga Hoy, 30 January 2009).
- “An excellent Lorenzo Ramos commanded the Orquesta de Córdoba.”
(Scherzo, March 2009).
“Il Tutore burlato”: - “Ramos’s good vision ensured that even the most complicated of pentagrams was made light and graceful, achieving a neat performance all along.”
(Scherzo, July-August 2007).
- “Of particular interest was the good work carried out by the young musical director Lorenzo Ramos, who demonstrated a serious attitude, careful precision and a special subtlety towards his signaling to the orchestra within that prior split second, much in the same way of his father, maestro López Cobos. Establishing his solid paternal roots is in no way detrimental to this young artist.”
(El Diario Vasco, 17 June 2007).
(Coro de RTVE): - “The conduction of Lorenzo Ramos was, to a great extent, the key piece for the choir performance, given the great gusto and the evident knowledge of the score, even showing a grateful and rarely appreciated interaction with the audience.”
(Ópera Actual, December 2006).
(ORTVE): - “RAMOS AT THE TEATRO MONUMENTAL: The title of this notice belongs to a following of the “in crescendo” baton of the young Lorenzo Ramos who [...] seems to be reaching his objective, persued by so many artists, to occupy the podium of one of the most praised symphonic entity, the Orquesta de RTVE, within their Season concerts. As usually, the hall was crowded, the audience acclaimed him after the three works programmed, and surprisingly after the most risky one, the Schumann “Rhenish” Symphony, with repeated strong ovations. This work, romantic par excellence, showed to have been studied and built by Ramos with a good performing criterion, reaching a solemn elegance in its third movement, and, -the utmost of the evening – with devoted musicians, the balanced confrontation of splendors and intimacies in the fourth movement, for instance.”
(ABC, 14 February 2006).
“La Venta de Don Quijote/El Retablo de Maese Pedro”: « ... an important factor to maintain the interest for a double program so irregular is Lorenzo Ramos’s wonderful musical conducting . Who is already at present a distinguished musical reality, and is expected to become one of the first names of the Spanish music in the next decades, demonstrates once again his talent in a double performance (...) Careful for each detail, subtle in the infinite shades of the work, he makes his melodic tapestry in an exemplary form. Performances like his make the Spanish lyric great, and brings it to the same level as the international repertory, facing the disdain suffered during too many years ».
(La Nueva España, 19 de Mayo de 2005).
« ... and if we add the evident competence, plasticity gesture, and communicative command of Lorenzo Ramos’s baton (...) we shall have the main vantages of an artistic value with a special class ».
(ABC, 13 de Marzo de 2005).
“La Bruja”: «Ramos, with that magnificent conducting, with his impeccable adjustment pit-stage, his care of the exponents (...) has already gained a hole in the Campoamor’s pit.(...)»
(La Nueva España, 13 de Mayo de 2004).
(Juventudes Musicales de Madrid. OCAS): « Lorenzo Ramos showed us in the practice the compatibility of the contemporary with the historical glories, and the naturality with which the audience accepted him. Lorenzo Ramos is a Conductor with excellent technique, and large flexibility for the styles. He conducts without baton, and in some waving gesture, he reminds his famous father, Jesús López Cobos ».
(El Mundo, 6 de Febrero de 2003).
(IX Ciclo de Música Contemporánea de Málaga. CNE): - “The National Choir, under the baton of Lorenzo Ramos, rendered a splendid performance at the Teatro Canovas, within the programme of the IX Cycle of Contemporary Music. Balanced and exquisite strings paid good attention to the master’s good work, and his clear and self-assured indications, with a relevant performance both by conductor and choir in the most modern pages […]. Equally perfect in those more traditional pieces.
(Diario Sur, January 2003).
« Lorenzo Ramos is one of the positive talents of the new generation (...) Ramos evidenced once again his knowledge of styles, his secure mastery, and effectiveness, and instinct (...) together with the nobility, the expressiveness, and the serene good order which he knew how to impose ».
(El País, 24 de Noviembre de 2002).
(OSPA): - « Lorenzo Ramos, a young Conductor who, from what could be seen and heard, will have much to say, and not only in the field of the Spanish music. He possesses a musical instinct which he transmits with rigour, and this, added to the audacity of a young conductor, implies an adequate cocktail, extraordinary in its result (...) showing a mastery and a control, characteristic of a conductor with artistic ambition, and who knows how to administrate with intelligence the expressive resources ».
(La Nueva España, 19 de Mayo de 2002).
« The Conductor Lorenzo Ramos has a watchful left hand. In his conducting he shows virtues of clarity and cohesion, with astonishing security, reaching a phrasing of particular intensiveness ».
(Scherzo, Noviembre de 2001).
(Orquesta Clásica De Madrid): -"It was a great success, since in addition to all the above we must refer to the hard, knowledgeable and instinctive work of young Lorenzo Ramos […] Lorenzo Ramos did live music […] in its form and essence.”
(El País, 25 de Enero de 2001).
(Juventudes Musicales de Madrid. OCAS): -« With the natural influence of the gesture and style of his father, Jesús López Cobos, Lorenzo Ramos already shows his strong personality, with an analytic capacity which enables him to crown successfully a set of so different and complex scores, so unfrequent (....) » .
(El País, 16 de Abril de 1999).