“Carwithen's Piano Concerto succeeded in creating a distinctive, personal language. The Sinfonietta, led by Aliisa Neige Barrière and soloist Mackenzie Melemed, performed it with full credibility. The concerto features pianistic showmanship, lyrical passages, and plenty of ups and downs.”

“Melemed, in addition to possessing amazing pianistic skills, is a fantastic musician. The orchestra and audience can be grateful that a talent like his was secured as a soloist.”

“Although Melemed's brilliance as a pianist was evident at every turn, he made the listener pay attention above all to the content of the music he played. This was also heard in his two encores. It's very rare to witness a similar level of experience to what Melemed's playing in these encores brought about.”

— Juha-Pekka Peltonen, Satakunnan Kansa

“Perhaps the most memorable part of the evening’s program was Mackenzie Melemed’s performance of Rachmaninoff’s Rhapsody on a Theme of Paganini. It was simply extraordinary. Melemed’s technique is dazzling, his tone rich and warm, and his musical savvy was on full display. Especially impressive was his volume control, and ability to contrast the power and intimacy of the piano. Melemed’s artistry was obvious from the first notes played, and kept the audience captivated throughout the performance."

"Melemed consistently projected a rich and warm tone from the piano."

"Melemed’s encore, the last movement of Weber’s Piano Sonata No. 1, was a delightful surprise. This piece showcased his versatility, transitioning from the grandeur of Rachmaninoff to the elegance of Weber with ease. The Weber is a flurry of dancing notes, in a perpetual motion rondo. Melemed played with virtuosity and seeming ease – as an endless string of notes flew out of the piano. Noticeably, orchestra members watched and smiled in awe. This crafty and gymnastic performance was a magical end to the concert’s first half."

— John Falskow (Suburban Times)

In Schumann’s Piano Concerto, the romantic feeling and the gently soaring, softly radiant virtuosity were in perfect balance. Most importantly, the soloist and the orchestra listened to each other with a sensitive ear, in a very close and flexible interaction.

Melemed and Peltokoski played Dvorák's hauntingly beautiful Slavic dance in E minor op 72/2 for four hands. It was a charming surprise number.

— Hannu-Ilari Lampila (Helsingin Sanomat)

“Pianistic maturity twice his age.”

“Partita No.1 was crisp, clean, animated, and above all, singing in tone.”

“Melemed’s crystal-clear pianism landed right on target at every moment.”

— Mark DeVoto (The Boston Musical Intelligencer)

“In Prokofiev’s Piano Concerto No.3, a dramatic and demanding piece, Melemed proves to be both a virtuoso and a sensitive interpreter, who takes advantage of the elastic rhythm that permeates the piece. In the third and final movement, he achieves a freedom in his playing that makes the entire orchestra lift.

In thanks for the crowd's ovation, he rips off a hard-swinging encore in ragtime style (Gottschalk’s The Banjo).

— Gunnar Wiklund (Folkbladet)

"About a state-sponsored murder of a young person who was struggling to make his marginalized voice heard, Janacek’s expression of horror, indignation, and grief speaks directly to today’s audience, thanks to Melemed’s sensitive and eloquent performance."

The piano duet medium is intrinsically domestic, and the two pianists, teacher [Emanuel Ax] and erstwhile student, tore into their parts with the high spirits of a home music fest.

— Larry Wallach (Berkshire Edge)

“Avner Dorman's Piano Concerto No. 3 left a tremendous impression. The pianist Mackenzie Melemed led through this three-movement work with crazy runs, which brought furious soundscapes and – especially in the second movement – ​​calm and beautiful moments. The orchestra was fully involved in the violent movements of the last movement, which ended in a powerful, happily danced finale.

A jubilant outcry with shouts of bravo from the hall and prolonged applause prompted Melemed to play two encores.”

— Hörst Groner (Thüringische Landeszeitung)

"In the Landestheater, the audience celebrated a really special symphony concert last Friday. The soloist of the evening shines with his dexterity. The soloist Mackenzie Melemed ordered [Avner Dorman’s Piano Concerto No.3] for himself. Of course, his dexterity, which the work demands, shines, but it should not be the focus. One thing is certain, this concert with its two premieres will go down in the history of concerts held in Eisenach with asterisks."

— Gottfried Meyer (Thüringische Landeszeitung)

"The magician for the romantic attacks and sweet lyrical parts of the work was pianist Mackenzie Melemed. Sunday’s chamber concert showed that solo and concerto pianist Mackenzie Melemed is also a great chamber musician. Technical virtuosity served sensitivity and enchantment in interpretations where you have to play easily with a small group. It really doesn’t come naturally for everyone. There was brilliance of color, detachment, and ferocity in the interpretation! Absolutely great."

Hanna Laulajainen (Kaleva)

“Melemed served ear candy to the audience in his interpretation of Rachmaninov’s second piano concerto."

"Grateful to listen to, very demanding for the soloist. However, the inconvenience was not conveyed in the interpretation. Melemed brought out the beauty of the music in his playing. Phrasing was long and sweet, articulation subtle and toned. Melemed had many opportunities for overt "show-off" moments, but he played on the composer's terms, a humble and brilliant interpretation."

— Sonja Saarikoski (Helsingin Sanomat)

"An authentic interpreter of Finnish music has arrived from the United States. Melemed played straight to the hearts at Ruovesi Music Festival."

"Melemed's sense of playing style, touch sensitivity and naturalness of phrasing conjured up great experience of the small character pieces..." (Sibelius Op.101)

"Isn't this enough as a sample for a permanent residence permit?"

Harry Hautala (Aamulehti)

"An indubitable success...movingly rendered."

"The distinctiveness of Bach, Bartok, Schumann, and Laura Kaminsky was projected throughout with unflagging commitment and deep understanding."

Jay Harvey Upstage

"In Thursday’s online concert, Melemed conjured up stunning contrasts to Scriabin’s airy and rippling piano concerto: sometimes delicately dreaming, sometimes stretching the intensity a little more beyond the phrase boundary. He played with precision and diligence, never in the spirit of self-worthiness, but rather his music specifically served to convey a meaningful musical idea."

Pauliina Rahiala (Turun Sanomat)

"To say it was a success would be a grave understatement, for it was nothing short of thrilling"

"Exquisite management of silence"

"Perhaps most unforgettable was Johann Sebastian Bach’s Partita No. 1... Melemed exhibited his deep emotional connection through his nimble fingers that danced on the keyboard...as if his two hands belonged to different players, such was the distinct character of his interpretation and the physicality of the performance."

"Beyond the extraordinary artistry on display that changed the energy and mood if not the temperature in the room, the gift of Mackenzie Melemed’s performance Sunday afternoon was that it reignited the imagination of those experiencing it — whether in the theater or at home."

Marin Heinritz (Revue West Michigan)

"Many shades of color, levels of sound, clarity of articulation, handling of rhythm - the list could go on a long time. There is rarely an opportunity to hear a performance where complete control of technique exists in the hands of a pianist who serves, first and foremost, a musical purpose."

Sakari Hildén (Hämeen Sanomat)

"The melodies of Melemed's fearless and distinctly grinning interpretation emphasized the life and beauty of each phrase. Melemed's collaboration with the conductor James Lowe and the orchestra was excellent."

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