Conductor with an uncommon passion.
— John von Rhein, Chicago Tribune
“An admirable statement of talent and potential”
— Tim Smith, Baltimore Sun
“Brilliantly preserving the dramaturgy, Kulenovic unfolded the last three movements [of Beethoven’s Pastoral Symphony] with poetical clarity.”
— Bernhard Hatmann, General-Einzieger Bonn
“Maestro Kulenovic, again without sheet music, conducted [Debussy’s ‘Prelude’] with minimal effort but maximum result. Just as the faun drifts off to sleep, you could hear the calmness and serenity of the woods within the hall, and we felt as if we are there. Beautifully done!”
— Annete Skaggs, Arts Louisville
“Vladimir Kulenovic shines in Winston-Salem Symphony opener... showcasing his considerable charm, humor and musical insights during comments to the audience about each piece on the program...
... During Sunday’s concert, Kulenovic’s thorough commitment to each phrase revealed a flair for the dramatic. Toward the end of the [Freischütz] overture, for example, he prompted the most powerful of tutti explosions following the faintest of pizzicato from the double-bass section. And during the Brahms [3rd] symphony, his conducting reaffirmed the importance that singing exquisitely shaped lines must play in this familiar treasure if it is to sound fresh and vital. “
— Ken Keuffel, Winston-Salem Journal
“Kulenovic met the fierce demands of Beethoven’s 9th with a sonorous approach that allowed the listener to discover instrumental textures that are frequently overlooked. He must be recognized for being a precise conductor, who knows what he wants from his orchestra, and has the technical mastery necessary to achieve it.”
— Jorge Baeza Stancic, Bachtrack
The Rite of Spring is one of the biggest conducting challenges, to which Vladimir Kulenović at the lead of the Belgrade Philharmonic, approached very seriously and studiously. Stravinsky’s rhythmical patterns, incessantly alternating before the listener, were executed with ease and accuracy, while Kulenović delineated numerous sound contrasts in the rich palette of Stravinsky’s magnum opus.
— Srdjan Teparic, RTV Press Belgrade
When the [Mozart 40th] symphony was over, there was an odd and conspicuous delay in the applause, almost like the cinematic cliché of a “slow clap.” We were all so shocked with the force of this interpretation of Mozart, that the applause started slowly but built strongly until we were all on our feet!”
— Michael Wyatt, Deseret News Salt Lake City