“Her compositional voice is assertive, unique, unafraid to take up space and command attention.”

The Washington Post

“This Gabriela Ortiz triptych is irresistible from the start: the jaggedly fiery violin solo that opens “Altar de Cuerda,” one of the finest and most exhilarating violin concertos of the past decade.”

The New York Times

“[Antrópolis’s] orchestral sophistication and grooving joy would make the Leonard Bernstein of ‘West Side Story’ jealous.”

The New York Times

“They Said Her Music Was Too Exotic. Now She’s a Classical Star.”

Javier C. Hernández – The New York Times

“Composer Gabriela Ortiz´s evocative music makes a strong case for the art form´s role as a powerful voice in today’s society.

Andrew Farach Colton- Gramophone Magazine

“Gabriela is one of the most talented composers in the world—not only in Mexico, not only in our continent—in the world.”

– Gustavo Dudamel

…the thrill of discovery illuminated every measure… The chunky Andalusian groove of the first movement gave way to a meditative central sequence, and Dueñas’s violin soared through the stratosphere as chimes and tuned crystal glasses added an eerie halo of sound.”

-Boston Globe

“[Altar de Cuerda] begins with a scorching statement in the violin, with whacks of triangle and crotales (spooky sounding cymbals) that rise off the stage like puffs of smoke in a roiling brew. At a few points, the woodwind and brass musicians played tuned crystal cups that conjured ritualistic magic.”

-The New York Times

“The beautiful, bass-heavy central movement, Canto Abierto (Open Song), conjures a mystical atmosphere of early Mexican churches. A bass drum booms, deep strings give mildewy cushion and timpani glide down as if to the center of the Earth. Wind instruments are the wind. The glistening solo violin does the singing. A final chord in the orchestra sounds electrically charged.”

-Los Angeles Times