“Extravagantly talented… the audience’s response was raucous… everything he touches turns fantastical and memorable…”


“Carpenter is one of the rare musicians who changes the game of his instrument… He is a smasher of cultural and classical music taboos. He is technically the most accomplished organist I have ever witnessed… And, most important of all, the most musical.”


“On Monday Carpenter played in the Philharmonie and what he did there was so disconcerting that it could probably only be compared to what Liszt must have evoked 170 years ago.” BERLINER ZEITUNG

“A young superstar… Flamboyant presentation goes hand in hand with unquestioned virtuosity.” THE NEW YORKER

“After a dazzling, deafening, swoon-inducing matinee concert from young American virtuoso organist Cameron Carpenter, the evening concert from the mighty Leipzig Gewandhaus Orchestra suddenly seemed a tame prospect. How did he achieve this miracle?” 


“A fallen angel who gives the organ back its sin.” DIE ZEIT

“No other musician of Carpenter’s generation has more adeptly fused shrewd showmanship, dazzling technique and profound thinking about his instrument and his place in the musical cosmos…” THE SAN FRANCISCO CHRONICLE

“The American organist Cameron Carpenter changed all that in just over an hour with a brilliant display of tonal imagination, musical inventiveness and creative originality, harnessing a fearsome but lightly-worn virtuosic control in the service of serious exploration of new musical possibilities.” THE SYDNEY MORNING HERALD

“Alternatingly dazzling and subtle, and always fired by a profound musical intelligence.” THE WALL STREET JOURNAL

Fearless and passionate, Mr Carpenter boldly treads where few have trodden before… His transcriptions, often playful, are always devoted to the essence of the original. THE ECONOMIST

“A personality destined to defy the mainstream, and possibly remake it… Should he do for the organ what the Kronos Quartet did for string quartets… the organ might well be a laboratory of change.” THE PHILADELPHIA INQUIRER

“His playing, with its use of stops to create vast spectrums of colour, is extraordinary. It’s hard not to be seduced.” THE GUARDIAN

“Cameron Carpenter’s flamboyant style is certainly unusual in the field of classical music, but as it comes along with an impressive stage presence and genuine charm, it is beyond reproach. But there is more to him than simply a theatrical quality. His light-fingered approach and speed are intriguing […] and the constant changing of the registers give the effect of opening up the piece of music to the smallest structural details…”  SÜDDEUTSCHE ZEITUNG

“Carpenter stands out in the world of professional organists, a place until now populated by softly spoken men in charcoal suits and the occasional woman in floral concert dress.” THE STANDARD

“Mr. Carpenter’s appearance was by definition newsworthy… the sheer virtuosity was staggering.” THE DALLAS MORNING NEWS

“Cameron Carpenter exists in a kind of parallel world where anything is possible… where outrageous showmanship can sit with an uncompromising musical intellect.” THE AGE

“To say that Cameron Carpenter is a virtuoso is to say nothing. He is an exorbitant virtuoso, the Vladimir Horowitz of the organ.”

“He is unlike anyone who has commandeered a pipe organ… The sonic textures Carpenter weaves with unusual choices of stops and keyboard-pedalboard combinations upsets purists and thrills newbies.” THE TORONTO STAR

“He’s an ambitious radical who plays with unrelenting vigor, scope, and imagination.” THE ADVOCATE

“He brings a blast of personality to his music-making… Carpenter’s keyboard and pedal gifts inhabit jaw-dropping terrain. His feet… would give Fred Astaire a run for his tap-dancing money.” THE CLEVELAND PLAIN DEALER

“Mind-blowing technique combined with charisma makes Cameron Carpenter the most exciting talent to emerge in decades.”