”Clélia Iruzun, a one-time pupil of Nelson Freire, is domiciled in London and has established a reputation in South American music with discs of Lecuona, Mignone and Villa-Lobos. She opened the evening with four piano pieces, the earliest the deliciously Chopinesque Tango brasileiro by the short-lived Alexander Levy (1864-1892)…there followed the energetic Dança de Negros by the wonderfully named FructuosoVianna (1896-1976), and a similarly energetic DançaNegra by Camargo Guarnieri (1907-1993)…Less unfamiliar is the music of Villa-Lobos (1887-1959), one of the most prolific composers. Festa no Sertão (1936), an extended piece, is sometimes translated as Jungle Festival. It makes considerable demands on the pianist. Iruzun despatched it with an insouciant panache.
Classical Source, Douglas Cooksey, Purcell Room, London, 24th November 2011

“Last night the pianist Clélia Iruzun played a wonderful concert. The variety of repertoire with the classics and Brazilian works were a new experience for the people of Shanghai.”
Xinming Evening News, Shanghai 2005

“The Mephisto Waltz sounded as if the composer himself was playing it… The Mozart Variations on a Theme by Duport were impeccable”
O GLOBO, Rio de Janeiro, BRASIL

“A recitalist who seemingly puts no more physical effort into playing the piano than it takes to read the newspaper, yet somehow produces sounds which go from stage whispers to tones of laser-beam strength… Schumann’s Etudes Symphoniques, grandly conceived, her interpretation reached the audience in well-packed maturity… Iruzun brimmed with fresh ideas and an untiring technique”
MUSICAL OPINION, UK

“Clélia Iruzun is a great ambassador for Brazil, which was no better demonstrated than in her opening piece. Villa Lobos Fourth Bachianas Brasileiras. The Prelude was finely executed, it’s varied shades considered and aptly defined. The First Ballade by Chopin was a stylistic delight. Iruzun’s mellifluous technique melding notions into a dreamily clad whole.”
MUSICAL OPINION, Nov/Dec 2003