'The grouping of the pieces created an interesting interaction between the ideas, thoughts, concept of genres and the emotions evoked by the composers Bartók, Kodály and Ligeti. (…) In the Transylvanian Lament by Kodály I was impressed by the homogeneity of the sound, the profundity of tone, the weight of the musical utterance, the genuine tone of passion and lamentation. In the Four Hungarian Folksongs by Bartók beside the flexible artistic adjustments to the different spacings and altering complexity of the four movements, it was the concept of the conductor that impressed me, which showed a deep understanding and strong interpretation of the dramaturgy of the piece moving from sadness to gaiety. In the Mátra Pictures by Kodály I appreciated the dynamism of the interpretation and the contrasting rotation of the musical utterances. (…) and what is evident from this concert (just as from all the previous performances of the Radio Choir since the autumn of 2014) is that Zoltán Pad is a choral director with original ideas and high standards.'
(Ligeti, Kodály, Bartók in Vigadó Concert Hall, Budapest - 26th April 2016 )
MUZSIKA - June, 2016
'The absolute protagonist of Christus is the choir. The Hungarian Radio Choir, coached by Zoltán Pad, performed with a rich sound and clear intonation, conveying the atmosphere and character of the chorus movements (several of them a capella) authentically.'
(Liszt: Christus, Müpa Budapest, Budapest Spring Festival - 17th April 2016)
'The Hungarian Radio Symphonic Orchestra and the Hungarian Radio Choir performed Handel’s grandiose oratorio, Israel in Egypt at the Liszt Academy of Music (Budapest). One of the problems with the work, its grandiosity was solved brilliantly by the conductor, Zoltán Pad. The work never for a moment become overwhelmingly pompous or ceemonious.
(…) In this piece Handel took some pleasure in composing with word painting and madrigalisms. Zoltán Pad, very sensibly, did not overact these few points in the score, but rather focused on the true abstraction of the musical material. He took livelier tempos in the piece than customary, and interpreted the performance markings (largo, larghetto, etc.) of the score convincingly. Since its renovation, the Liszt Academy showed the full strength of its acoustics during the concert, in addition the Radio Choir gave a marvellous performance: one could hear how much the choir enjoyed singing the choruses and double choruses of Handel. They sang with a fresh, youthful sound, but never over-controlling the dynamics; the proportions between the voices well-balanced, plastic. And while the choir avoided the trap of pompous, ceremonial intonation, their performance certainly did not lack exaltation. (…) The concert had a great atmosphere, the audience was attentive and understanding. If you can, listen to it from the Archives (Médiatár) of the Hungarian Radio.'
(Handel: Israel in Egypt, Liszt Academy, 20. February 2015)
'When commenting on the last chorus (“Das Lamm, das erwürget ist”), I also have to speak highly of the Hungarian Radio Choir (chorus master: Zoltán Pad), who have given us especially here, but also previously, a truly elevating experience.'
(J. S. Bach: Ich hatte viel Bekümmernis BWV 21, Liszt Academy, 30. November 2015)
'In the middle of the calendar year and at the end of the concert season we can confidently state that (…) the most significant overall performance was most probably that of the Kodály Choir, Debrecen. (…) Even if we only take into consideration the more important concerts held in the city of Debrecen, and do not mention the performances in the countryside, in the capital or abroad, they have still done an astonishing amount of work, of astonishing quality.
Vivat, crescat, floreat!
Now, afterwards, we can say that they have done an incredible work together with their conductor, Zoltán Pad. (…) The pieces, all of them of high quality, but of different styles, under the guiding hands of Zoltán Pad were performed at the highest international level. We can assume that not only the performances were challenging for the singers of the Kodály Choir, but also the preparation, which was probably carried out according to a conscious and strict training rehearsal schedule.'
'It is common in the music world to say that a capella (unaccompanied) singing is the best measuring of the quality of choirs. Beside singing popular orchestral and accompanied genres (oratorios, cantatas, etc.), a good choir should always better itself, and extend its a capella repertoire as well. As its former quality of sound seemed to be fading a couple of times recently, it is most timely and beneficial that Zoltán Pad pays special attention to careful and regular unaccompanied singing, rehearsal techniques.
The introduction of Zoltán Pad (as the new chief conductor) made a very good impression. He is probably younger than any of the members of his choir, but he appears as a sovereign leader. His technique as a conductor is refined, his movements are informative and determined. He possessed the skill to build up the dramaturgy of the performed pieces convincingly, and made them emotionally more accessible to the audience. It is evident that he deserves the credit for the excellent choice of programme and also for the preparatory work behind it. His decision to choose members of the choir for the larger or smaller solo parts can also be applauded, the singers sang really well during the concert.'
('Heaven and Hell', 20th February 2010, Incarnation Church, Debrecen)