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“…the trio distinguishes itself with a fearlessness exemplified by the playing of Simas. This clarinetist’s daredevil eagerness to take on daunting leaps in register was a delight.” 

~ Akron Beacon Journal


“... for the late Brahms Clarinet Quintet, Op. 115, one felt that Simas could make even a laundry list sing with his wind instrument. The crux of it was his rich vibrato illuminating the Adagio movement…Simas made an effective contrast against the Ives foursome that leans and leads toward grainy sound textures.”

~ Arts SF

“Bruch’s Double Concerto for Clarinet and Viola of 1911 was a treat, spotlighting one of the Bay Area’s arresting interpreters on clarinet, Jerome Simas. Simas can make it sing, make it beg, make it roll over and have it serenade you. His phrasing, subtle dynamics and inherent expressiveness are memorable, as he has shown in many other types of repertory and ensembles.” 

~ Arts SF

“Swooping and dipping in fat, liquid tones, Simas recalled huge-voiced heavies like Jimmy Rushing or Big Joe Turner. The resulting applause was the warmest of the evening.”

~ The Buffalo News

“Jerome Simas played Carl Nielsen’s challenging Clarinet Concerto with consummate skill.”

~ Flint, MI Journal

“Jerome Simas, one of the New World Symphony’s major assets, offered another example of his virtuosity with a subtle and supple performance…”

~ Fort Lauderdale Sun-Sentinel


"…played with color and verve by Jerome Simas…”

~ Grammophone Magazine


"Special mention must be given to clarinetist Jerome Simas, whose thematic solos shone brightly.” 

~ Memphis Commercial Appeal 

"Jerome Simas floated the clarinet solo magically in Rachmaninoff’s Symphony No. 2.”

~ Miami Herald

“Jerome Simas did a phenomenal job re-creating Ross Gorman’s famous wailing clarinet glissando [in Rhapsody in Blue]…and also fit easily into Stravinsky’s Ebony Concerto, evoking the bluesy elements of the piece.”

~ Miami Herald


“…refreshingly played with supple dexterity and lyric charm by Jerome Simas.”

~ Miami Herald

“Simas demonstrated the highest levels of musicianship in all aspects of his playing. His clarinet soared and swooped through the intricate passage-work with ease and aplomb, and demonstrated unfailing lyricism and style. He played with a wide range of tonal color, notably in the second movement [of the Mozart Clarinet Concerto] when the return of the main theme came in a delicate pianissimo that brought a hush to the audience. In the final movement, Simas imbued his playing with an infectious delight that left the audience feeling charmed and lighter than when they walked into the auditorium that evening.”

~ Modesto Bee

“Copland’s Appalachian Spring,” in the Suite for 13 Instruments, sounded crisp and strong-limbed, with clarinetist Jerry Simas contributing a sinuous turn during “Simple Gifts.”

~ San Francisco Chronicle


“In the third movement “Abîme des Oiseaux” (Abyss of birds), by contrast, Jerome Simas’ clarinet seemed scarcely embodied, let alone human. The sound was clear, splendidly liquid, agile, mysterious, remote. Simas began the movement’s long-note crescendos so quietly that you first became aware of the pitch only to realize that it had already been sound for some little time.”

~ San Francisco Classical Voice

“Clarinetist Jerry Simas’ performance [in Appalachian Spring] was memorable for its cool, clear, steady tone and evocative phrasing.”

~ San Jose Mercury News

“I think if clarinetist Jerome Simas had played with Camerata Pacifica before I would have noticed for he is certainly a master

and so I assume this is his first season with us – he is most welcome. His playing in the Jolivet, the Penderecki, and the Golijov was illuminating.” 

~ Santa Barbara Independent 

“Simas was particularly effective in his solo movement, “Abîme des oiseaux” (abyss of birds), whose extremely wide dynamic range probably reflects the depth of the abyss Messiaen had imagined. Few clarinetists can pull off playing on the threshold of inaudibility with the skill that Simas summoned last night.”

~ San Francisco Examiner

“Simas masterfully demonstrated that a bass clarinet, when properly performed, can be just as expressive as a cello.”

~ San Francisco Examiner

“Simas clearly appreciated the value of the sweet spot. His execution was expressive in all the right ways, always managing dynamics and tempo in the interest of both dramatism and structural clarity [in Brahms Sonata for Clarinet and Piano, Op. 120, number 1].”

~ San Francisco Examiner

“Bartok’s Contrasts highlighted the trio’s virtuosity, flexibility, and stirring rhythmic drive. Simas’ clarinet wailed in the stratosphere like a Klezmer musician then whispered dark secrets down low.”

~ South Bend Tribune

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