“The Work is flamboyantly virtuosic and Petrowska Quilico takes full advantage of the opportunity to rise to the occasion... It is a well-crafted, dramatic work that would be well at home on any mainstream orchestral concert and, deserves to be heard more often.
“The Kuzmenko Fantasy is an attractive, essentially tonal work, a genuine contribution to the repertoire, and easily the best of.. the things I've heard by this composer. It has rhythmic and melodic interest, real vitality and strong feelings, all of which Yamagami was able to convey. Each of its four movements has a distinct profile and its own characteristic devices: the Prelude is sombre; the Scherzo a buoyant jig; the Intermezzo wistful, with a memorable, brief plaintive passage in harmonics; the Toccata finale a bit episodic but decisive.
“...the scoring was so well judged that verbal clarity was never sacrificied and the union of violin, cello, and piano with the voices of a chamber choir sounded entirely natural.
“Kuzmenko's concerto, "Sea Without a Shore'", was well received. It's a good work, solid in construction with some effective orchestration. The slow finale .. is a highly evocative expression of the depth of Kuzmenko's imaginary sea. The orchestral textures are rich and dark, yet strangely still and chilling.
“Kuzmenko's new work, Behold the Night, is a two-movement setting of a pair of poems from Shakespeare's A Midsummer Night's Dream: "Over hill, over dale," and "Now the hungry lion roars." Scored for orchestra and children's choir, it's a harmonically conservative work – as charming and colourful as any film score by Danny Elfman or John Williams.