"The Opera Group's performance couldn't be bettered. Tim Murray conducts a fine band..."

Rupert Christiansen, Daily Telegraph

"...the music director Tim Murray works hard with the director John Fulljames and a cast of classical singers, dancers and musical-theatre thesps to keep it all going at a nail-biting pace."

Hilary Finch, The Times

"...ably conducted here by Tim Murray..."

George Hall, Guardian

"... composer Philip Feeney ... is well served by the conductor Tim Murray and soloists from the Philharmonia Orchestra."

Allen Robertson, The Times


"The Philharmonia Soloists play splendidly under the baton of Tim Murray..."

Howard Loxton, British Theatre Guide

"...expertly projected by singers, ensemble and musical director Tim Murray..."

David Gutman, The Stage

"The evening's most consistent elements lie in the performances ... expert playing from the ensemble Chroma under Tim Murray's alert baton."

George Hall, Guardian

"...smartly conducted by Tim Murray..."

Anna Picard, Independent on Sunday

"... Tim Murray's conducting was nonetheless splendidly assured."

Paul Driver, Sunday Times

"...vividly performed by the Almeida Ensemble under conductor Tim Murray..."

"The opera itself is an unequivocal hit."

George Hall, Guardian

"...so beautifully played by Chroma under Tim Murray, and so very well sung and acted that this shoe-string touring production is a must-see."

Anna Picard, Independent

"...Julian Grant's music is luminously attractive..."
"...Tim Murray's conducting of the group Chroma is fine."

Warwick Thompson, Metro

"Nursed by the Genesis Opera Project, brought to vigorous life by Bill Bankes-Jones and the Tête à Tête company, Push! repairs the omission with wit and panache; tenderness too."

"Fun to play for the musicians, under the alert beat of the conductor, Tim Murray."

Geoff Brown, The Times


"Push! is a wonderfully entertaining small-scale piece of music theatre with a score by David Bruce and a libretto by Anna Reynolds...Bruce's score, conducted by Tim Murray, is buoyantly inventive...the versatile cast of eight performs with irresistible panache...Push! certainly delivers."

Rupert Chistiansen, Daily Telegraph


"...the unlikely subject of childbirth makes for great opera..."

"There is depth here as well as surface, and a sense of tonal pacing that is more than merely “effective”. When Maddy sings of “loving no one, loved by none”, there is a chord change on the last word to clinch the matter. The conductor, Tim Murray, ensured that it did."

Paul Driver, Sunday Times

"It's finely conducted by Tim Murray and brilliantly acted and sung by an ensemble cast..."

Tim Ashley, Guardian

"It's a glorious celebration of life, with music that's both colourful and inventive, and conducted with tremendous authority and elan by Tim Murray"

Emma Higginbotham, Cambridge Evening News

Kagel
Die Stücke der Windrose for salon orchestra – Osten; Westen
Fokkens
An eventful morning somewhere near East London [World premiere]

"...ably directed by Tim Murray (who showed no signs of having stepped in at short notice)"

Richard Whitehouse, Classical Source

"For the Kagel and Fokkens, Mackenzie was joined by conductor Tim Murray and the New Professionals Orchestra — a talented band, all in their twenties. I loved their two extracts from Kagel’s Die Stücke der Windrose (The Points of the Compass)"

"It was all impeccably prepared. I’d like to hear it again."

Richard Morrison, The Times

"The instrumental playing by the nine-piece ensemble is excellent, and conductor Tim Murray's skills ensure a slick, cogent performance."

Stephen Pettitt, Evening Standard

"The score conjures surging rivers, precipitous mountains and even a moving mysticism from a nine-piece ensemble, conducted with conviction by Tim Murray."

Tom Service, Guardian

"...consistently served with crisp and sparkling accompaniment under Tim Murray's baton."

Geoff Brown, The Times

Nancarrow, Study for Orchestra (European Premiere)

"Six conductors rejected the Study as unplayable before it received its premiere; to facilitate its performance Adès had renotated the first movement so that it could be directed relatively simply by himself and Tim Murray together, one beating in four to the other's five. Watching this intricate operation was almost as fascinating as, undeniably, was the music itself."

Erica Jeal, Guardian