“Beginning with Michael Sweeney’s outstanding bassoon contribution, ‘The Story of the Kalendar Prince’ wove a sinuous dance.”
[Rimsky-Korsakov: Scheherazade]
- classicalsource.com -

 

“... the solo voices all have abundant courage and personality. Listen especially [to] bassoonist Michael Sweeney, whose rhapsodic, make-it-up-as-you-go-along solo at the beginning of “The Kalend[a]r Prince” is the freest and most imaginative since Gwydion Brooke’s in the classic EMI recording by [Sir] Thomas Beecham.”
[Rimsky-Korsakov: Scheherazade - TSO/Oundjian - Chandos CHSA5145]
- Fanfare Magazine -

 

“... there is an excellent start to the second movement, when the bassoon is directed to play capriciously and as if telling a tale, and at the same time confidingly and expressively. The Toronto soloist (...Michael Sweeney) does [so] with a free hand.”
[Rimsky-Korsakov: Scheherazade - TSO/Oundjian - Chandos CHSA5145]
- Gramophone Magazine -
(Awards Issue, 2014)

 

“There were many expert solos[;] Michael Sweeney brought ad-lib imagination to his bassoon solos...”
[Rimsky-Korsakov: Scheherazade]
- The National Post -

 

“Beautiful highlights from the TSO [included] the highly engaged dialogues between Vengerov on his violin and bassoonist Michael Sweeney, whose rubato in the opening of the second movement (‘The Tale of Prince Kalendar’) was most impressively executed.”
[Rimsky-Korsakov: Scheherazade]
- bachtrack.com -

 

“Special kudos to the orchestra’s lead bassoonist, Michael Sweeney.”
[Ravel: Alborada del gracioso]
- concertonet.com -

 

“... the gorgeous bassoon [solo] towards the end of [movement] I is haunting.”
[Shostakovich: Symphony No. 7]
- American Record Guide -

 

“... introduced by the seductively freeform bassoon solo of Michael Sweeney...”
[Stravinsky: Rite of Spring]
- National Post -

 

“The solos were played with great beauty, with special [mention] to Michael Sweeney bassoon.”
[Sibelius: Symphony No. 2]
- audiophilia.com -

 

“… bassoonist Michael Sweeney's expressive role in the aria Von den Stricken [was]
like the scent of an oasis to a parched desert traveller.”
[Bach: St. John Passion]
- The Globe and Mail -

 

“Principal bassoonist Michael Sweeney … seemed tuned in to the operatic imagination.”
[Beethoven: Symphony No. 3, “Eroica”]
- The Globe and Mail -

 

“... and exciting solos from [several players]. Special bravos to bassoonist Michael Sweeney ...”
[Beethoven: Symphony No. 3, “Eroica”]
- The National Post -

 

“Especially in Rachmaninoff's Symphonic Dances there were gorgeous solos from principal bassoonist Michael Sweeney ...”
- The National Post -

 

“… gorgeous solos from … bassoonist Michael Sweeney.”
[Tchaikovsky: Symphony No. 5]
- The National Post -

 

“… special praise goes to bassoonist Michael Sweeney’s plaintive solos…”
[Tchaikovsky: Symphony No. 6, Pathétique]
- The National Post -

 

“… with special kudos going to Michael Sweeney for his gut-wrenching solo in the finale.”
[Shostakovitch: Symphony No. 10]
- The National Post -

 

“Bassoonist Michael Sweeney [was] superb in [his] expressive solos.”
[Tchaikovsky: Symphony No. 4]
- The National Post -

 

“…the soulful solo efforts of bassoonist Michael Sweeney (in The Firebird).”
-The Globe and Mail -

 

“Bassoonist Michael Sweeney’s many solos were full of imagination and character…”
[Shostakovitch: Symphony No. 4]
- The Globe and Mail -

 

“…Michael Sweeney, completely stole the second movement with supple [playing] that never sounded calculated.”
[Brahms: Symphony No. 4]
- The Globe and Mail -

 

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