"An impeccable clarinetist"
-Sebastian Spreng, knightsfoundation.org, June 29, 2016
"Katz...has a very large, powerful tone that extends all the way into the highest registers. She never squeaks or gets pinched, just keeps rolling out yard after yard of round, confident sound. It is playing with real presence, and it goes well with her bubbly stage personality...Katz was next in a performance of Astor Piazzolla’s popular tango Oblivion. She performed it like an ad-libbing klezmer musician, improvising the second time through the melody with smears and bends, following a completely different trajectory than the composer. One senses that he would have approved; it was a nice, refreshing take on a piece that gets treated all too seriously when it’s pulled out for encores, which is fairly frequent these days. If the Piazzolla whetted the appetite to hear Katz in jazz, the duet for clarinet and cello that came next, Guillaume Connesson’s Disco Toccata, gave the audience a good example of what that would be like...Katz and Sullivan played it marvelously well, drawing a whoop of pleasure from the audience."
-Greg Stepanich, Palm Beach Arts Paper, June 28, 2016
"Mozart’s well-known Piano Quintet in E-flat, K.452, was next on the menu, and pianist Robert Levin, oboist Allan Vogel, clarinetist Moran Katz, bassoonist William Winstead and hornist William Purvis gave it an exquisitely light, but intense, reading that showed a beautiful blend and understanding of the style"
-June LeBell, The Observer, June 19, 2016
"Copland’s Clarinet Concerto was written for Benny Goodman, and there have been many great renditions since its debut. But Moran Katz, playing it (unbelievably) for the first time in public, truly owned the piece. Her sensuous sound and magical dynamic range were nothing short of spectacular. This could become her signature work in the future, and she handled the enormous jumps in register and transitions from classic style to swinging jazz, lighting up the Opera House with the beauty of her sound".
-June LeBell, The Observer, June 19, 2016
"...Moran Katz...obviously has the chops of a superstar...Katz delivered smooth lines with a melt-in-your-mouth tone quality seamlessly flowing in long arcs...The solo line ambled with veiled purpose before blossoming into an increasingly agitated cadenza that spilled into the second movement...Katz was surely performing the restored original with all the juicy tidbits and cascading arpeggios with exuberance. She made pearls of extremely high notes and flung them into the jaunty, jazzy, joy filled romp that brought the concerto to a close with a Rhapsody in Blue style smear".
-Gayle Williams, Herald Tribune, June 19, 2016
"...the mesmerizing clarinetist Moran Katz...also offered a scintillating performance of Piazzolla's "Oblivion" and Ravel's beautiful vocalise, "Piece en forme de Habanera," with great finesse and a wonderful range of colors."
-June LeBell, YourObserver.com, March 23, 2014
"Thanks to the poetry and spirit she gave Mozart's Clarinet Concerto, there was no mistake in the judges' decision."
-Steven Brown, Houston Chronicle, June 2, 2013
"The second part of the concert was dominated by the Israeli Moran Katz and her clarinet. Together with Kolja Lessing, she played the first of the 3 fantasy-pieces of Schumann, like it should be played - very gentle and with expression . It was a promising announcement for the final treasure of this evening: the magnificent quintet for clarinet and string by Brahms. Moran Katz and the four gentlemen of the Vogler Quartet showed themselves in a way familiar with the late style of Brahms, as if the four movements had just been developed by their very own intuitive way of interpretation. The emotional "heart-piece" was once more the Adagio in its "out-of-the-world"-beauty which has already been praised by the contemporary fellows of Brahms. After the magnificent variations of the final movement the five artists were celebrated with thunderous applaus and enthusiastic calls."
-Paul O. Krick, Saarbrucker Zeitung, June 14, 2012
"...The Brahms Clarinet Quintet received an injection of youth from Clarinetist Moran Katz..."
-Michael Dungan, Irishtimes.com, May 9, 2012
"A Master Clarinetist at 27. Remember the name: Moran Katz. She is terrific... There is star quality here, waiting for the right management."
-Sedgwick Clark, Musical America, March 28, 2012
"The solo part is formidably challenging. Moran Katz, whose timbre is refreshingly brighter than most clarinetists, navigated the difficult shifts of register with astonishing evenness of tone, and brought greater variety – cheeky, songlike, energetic and doleful – than I have previously heard in this work".
-Gene Gaudette, Classicalsource.com, March 25, 2012
"...incredible potency, subtlety, and poise...She executed everything from fluid, muezzin-like calls to rapid trills and tongue flutters to high squeaks and quacks with relish, her tonal color shifting easily from gentle and glowing to harsh and folksy. Katz's joy in performing is communicated clearly...Always in super-tight ensemble with the orchestra, her timing during solo passages was also impeccable; she knew just how long to let a glimmering pianissimo note or a stressed leading tone hang in the air. A dramatic final climax led to huge applause, including bravos..."
-Claudia Carrera, Capitalnewyork.com, Oct. 24, 2011
"Peri Mauer's "Rhapsodance", vibrantly interpreted by Moran Katz, a clarinetist, and Alexandra Joan, a pianist... ."
-Steve Smith, The New York Times, Sep. 4, 2011
"Katz's clarinet was possibly the most controlled and expressive I have heard in chamber music. Her wonderful pianissimo entrances gentle and yet unmistakably present, her liquid arpeggios assured and colorful. She's likely to succeed other Marlboro fellows...as a master of her instrument ."
-Nicholas Jones, Clevelandclassical.com, August 9, 2011
"An intensely expressive interpretation of Schuberts "Shepherd on the Rock", featuring Ms. Brown, Ms. Shafer and the clarinetist Moran Katz"
-Vivien Schweitzer, The New York Times, August 8, 2011
"Very few musicians found the right and subtle alchemy made out of the thematic bits of Bartok's Contrasts. Clarinetist Moran Katz, Violinist Liana Gourdija and Pianist Peter Laul made it a completely coherent piece of music. Technical steadiness, careful listening, a range of a particularly subtle sound..."
-Pierre Chevreau, Dernieres Nouvelles D'Alsace, May 10, 2011
"Katz plays everything beautifully and idiomatically. With her magnificent color, agility, and breath control, she is magically persuasive in the early Romantics. Copland's 1940 Sonata couldn't have sounded more authentic, and Elliott Carter's humorous solo tidbit GRA was brilliantly, mischievously dispatched. And she dazzled and beguiled in Artie Shaw's Clarinet Concerto!...Mozart's Clarinet Quintet, K. 581, with Moran Katz...likewise continued the same perfection and elegance. All five protagonists shone as magnificent presences, and Katz's subtle, unobtrusive embellishments were a joy."
-Harris Goldsmith, Musical America, January 2011
"The clarinetist, Moran Katz, was outstanding"
-Susan Miron, The Boston Musical Intelligencer, July 19, 2010
"Ms. Katz, a force of nature, played three clarinets brilliantly: standard, piccolo and bass clarinets. Her dynamic and timbral ranges...brought intense expressivity to this profoundly sad work".
-Rorianne Schrade, New York Concert Review, June 8, 2010
"With the winner as the soloist, the Israeli interpreter Moran Katz proved her potential".
-Johannes Adam, Badische Zeitung, May 21, 2010
"Moran Katz was the magnetically expressive clarinetist"
-Liane Curtis, The Boston Musical Intelligencer, March 1, 2010
"...She demonstrated what was a remarkably unusual trait: an instrumentalist with a sparkling personality (for want of a better word) engaging personality! Yes, she tossed off the fiendishly difficult technical demands with professional ease while including the audience in her performance. She seemed to dance her way through the piece and left the spellbound listeners amazed at her ability and personal charm. I don't think I've ever written this about an instrumentalist before. In other words, the obviously was a stellar choice as the winner of the competition".
-Ronald Bennett, Odessa American, Jan. 26, 2010
"...Featuring Moran Katz, who made her clarinet bubble and pop...Razaz' piece and Katz' performance were audience pleasers...Katz grew her clear tone beautifully in places, thickening the mix. Her style meshed perfectly with Razaz' sharp, angular writing in her third movement"
-Judith White, The Saratogian, Dec. 18, 2009
"Elliott Carter'Âs 'Eight Etudes and a Fantasy' for woodwind quartet seemed like foie gras after a vegan appetizer. Jeffrey Reinhardt, oboist; Emi Ferguson, flutist; Moran Katz, clarinetist; and Adrian Morejon, bassoonist, illuminated the intricacies and moods of each section with flair".
-Vivien Schweitzer, The New York Times, Oct. 10, 2009
"Great things will certainly be heard from her... Moran Katz shows a frivolous superiority towards the instrumental Arabesques but she is especially convincing as a poet...Like out of the blue, she develops an "Andante-like" theme in Schneid and the same is valid for the middle part of Weber, where she draws a picture of the typical "Weber style"... Here she acts like an exceptional sound-whisperer. With an intense but never overbearing body language, she shows an understanding of music in a metaphorical sense of a ringing, exciting form..."
-Alexander Dick, Badische Zeitung, Aug. 31, 2009
"Ritmorroto was played with impressive virtuosity by the top-notch clarinetist Moran Katz..."
-New York Concert Review, April 2009
"A striking contrast came with the second performer. Moran Katz flowed onto the stage in a startling, shimmering dress and proceeded to fly through the Introduction, Theme and Variations for Bb Clarinet and Piano by Rossini...A graduate of Juilliard, her playing was passionate, open and communicative... Katz was charming... She left the stage to enthusiastic rather than polite applause."
-Graham Dixon, Midland Reporter Telegram, Jan. 16, 2009
"The Garuda Ensemble-a new group with plenty of familiar performers, among them Ms. O'Connor, the Cellist Fred Sherry, the hornist William Purvis, the oboist Stephen Taylor, the clarinetist Moran Katz and the conductor Jeffrey Milarsky-gave expert, strikingly cohesive performances of three chamber works."
-Allan Kozinn, The New York Times, Sep. 29, 2008
"To their credit, violinist Joyce Hammann, clarinetist Moran Katz and trumpeter Ralph Alessi captured the undertone of this music - a kind of funeral march for 19th Century Europe Â- while accommodating Caine's contemporary perspective."
-Richard Reich, Chicago Tribune, Feb. 1, 2007
"It was fascinating to watch the musicians move from composed to improvised sections of the presentation and back. The variety of different sounds the ensemble managed to produce was also remarkable, especially the clarinetist and percussionist. Moran Katz sang, cried, swooped, and squealed in the very highest register of her clarinet..."
-J. Bert Bragonier, Los Angeles Chamber Orchestra Blog, May 12, 2007
"Katz played her instrument with expressive lyricism, secure tone quality and agile technique...A remarkable tour de force, excellent breath control and finger acrobatics...Katz is a charming presence with her warm personality."
-Eileen Wingard, San Diego Jewish Times, Sep. 22, 2006
"Swirling Romantic episodes alternated with klezmerish ornaments in the violin and clarinet parts, exuberantly rendered by Jolles and by clarinetist Moran Katz. Katz's woody chalumeau register also lent depth and a hint of menance to the sinister, lurching 'March' and the slow fantasia-like 'Nigun'".
-Alexander Gelfand, Forward, May 26, 2006
"The Goethe-Lieder from 1935 followed in a precise and communicative performance by Lucy Shelton and three fine players handling the three different clarinets involved (Moran Katz, Eb; David Gresham, Bb; Benjamin Fingland, Bass)."
-Barry O'Neal, New Music Connoisseur, March 2006
"Guus Janssen's Concerto for Three Clarinetist and Ensemble was a sharp contrast, with its emphasis on full frontal virtuosity. The able student soloists - Vasko Dukovski, Moran Katz and Ismail Lumanovski - Âplayed fast riffs spiced with klezmer and Balkan influences..."Â "
-Jeremy Eichler, The New York Times, Jan. 30, 2006
"The one who demonstrated the greatest measure of stage art was the Clarinetist Moran Katz (a Poulenc Sonata) with the wonderful accompaniment of Alon Goldstein. Katz creates a musical theater with a sea of musical colors, images and expressions. Her playing is picturesque, fascinating and electrifying and her prize is understandable and justified."
-Ora Binur, Maariv, Jan. 5, 2006
"Pablo Ortiz's "Vida Furtiva" (1992), which Ms. Seltzer on piano, Renee Jolles on violin and Moran Katz on clarinet played with assertive and at times explosive energy..."Â "
-Allan Kozinn, The New York Times, Dec. 8, 2005
"Moran is one of the most talented clarinetists, even more, one of the most talented musicians I have ever known."
-Charles Neidich, International Soloist, March 20, 2005
"The most immediately striking work was a Trio by Paul Desenne, a Venezuelan composer whose forms and rhythms are essentially Latin, and his harmonizations are bright, freewheeling and sophisticated. He also provided some fantastic clarinet writing, played with considerable verve by Moran Katz, with vivid support from Jennifer Rhodes, a bassoonist, and Mr. Sachs at the Piano."
-Allan Kozinn, The New York Times, Aug. 2, 2005
"Accompanied by Beth Nam, 21-year-old clarinetist Moran Katz, a native of Israel, appeared in a maroon strapless taffeta gown and dazzled the audience with French Composer Francis Poulenc's Sonata. Although the piece has many virtuosic passages, such as the fiery finale of the three short movements, the allegro con fuoco movement, which Katz handled as if the clarinet were an extension of herself, the soft, melodic middle movement romanza was nevertheless this reviewer's favorite."
-Kari Sayers, Palos Verdes Peninsula News, June 2, 2005
"Mr. Schoenfield's "Trio," for clarinet, violin and piano, raised the temperature further, just before the intermission. This is a piece that requires an understanding of klezmer and the technique and sensibility to bring the nuances of the style to life. Moran Katz, the group's clarinetist, had all the moves -- the bent pitches, the ornaments that make the clarinet seem to laugh and the soulful, voicelike lyricism that is the thumbprint of the klezmer style."
-Allan Kozinn, The New York Times, March 31, 2005
"The performance of clarinetist Moran Katz uplifted the interpretation level to a high and exciting level. Her playing of the Mozart Clarinet Concerto and the Weber Concertino was very stylistic, with a warm tone and a tremendous wealth of nuances. Moran has a wonderful technical control, which serves beautifully the music she plays. In the Mozart concerto, especially in the slow movement, Moran produced musical images that reminded us of the composerÂs operatic connection and his poetic melancholy. Moran's playing radiates a great deal of humaneness and love for music."
-Ora Binur, Maariv, March 2005
"Kancheli's Midday Prayers finds a clarinetist (Moran Katz) emitting sounds similar to pure tones that interestingly compliment the singing of psalms texts by a boy soprano."
-George Loomis, Financial Times, Jan. 25, 2005
"The underlying mood is prayerful monotony, but solo clarinet lines (here by Moran Katz) give color and punctuation."
-Bernard Holland, The New York Times, Jan. 24, 2005
"Moran Katz was excellent in the luminous clarinet part."
-Bruce Hodges, Seen and Heard International, MusicWebs Live Opera, Concert and Recital Reviews, Jan, 2005
"The award for knocking people off their seats goes to students Moran Katz, clarinet; Maria Jeleztcheva, bassoon; Aleks Ozolins, horn; Emily Ondracek, violin."
-Gayle Williams, Herald Tribune, June 2004
"It is a display piece for the clarinet, pushing the performer's abilities to the limit, and Katz gave a spectacular performance in sound and in body language. Already the recipient of numerous awards, Katz has world-class potential."
-Joe and Elizabeth Kahn, Classical Voice of North Carolina, April 2004