"... the Courcelle mass setting on... Dirige me, Domine... a vivid and beautifully crafted mingling of baroque and classical styles... with chills-down-the-back harmonic suspensions. ...these were spirited and capable performances."

Scott Cantrell, May 22, 2004, Dallas Morning News

"The Orchestra of New Spain warmed up for a brief tour to Houston and New Orleans... on Thursday night. The program of little-known music from 18th-century Spain left a vivid impression. Either there were some exceptional composers at work in Madrid in 1750, or Grover Wilkins, who chose the program, has a keen ear for what works. It’s always possible that both are true, of course."

"The most impressive of the four composers... was Courcelle. ... The mass was at times moving, at times joyous, and consistently beautiful... reminiscent of Haydn. This was high-quality music that inspired the obvious question: Why isn’t it better known?"

"The music for Epiphany was robust and ornate, with some lovely moments of repose."

"A fine group of soloists gave life to the texts. ... A small chorus projected more forcefully than their numbers would suggest, and the orchestra of early music specialists gave firm support under Mr. Wilkins’ baton."

Olin Chism, November 14 , 2003, Dallas Morning News

"... impressive for its imagination and, especially, its rhythmic vitality. ... The [Courcelle Mass] was notable for its distinctive swagger and, at key cries for mercy, seductive introspection. The work for Epiphany had similar muscular writing. ... The [tonadilla] bounded along with saucy humor and drive."

"The 20-member [orchestra] of period instruments added a nice, spicy authenticity. The chorus sang with obvious affection for the music."

Charles Ward, November 17, 2003, Houston Chronicle

"It was clear from the music and the synopses that [the tonadillas] were intended as light entertainment, clever but not above a low-brow audience. ... The interaction between the soloists near the end [of The carpenter’s apprentice] was as playful as Rossini at his most droll."

Olin Chism, September 18, 2003, Dallas Morning News

"It tells you something about the low international profile of Spanish music that the pieces we most associate with the country... Bizet’s Carmen and Ravel’s Bolero... were composed by Frenchmen. Grover Wilkins and his Dallas-based Orchestra of New Spain are working to change that situation. ... [Friday, a Soler] Magnificat offered striking declamation and poignant harmonic surprises. The villancicos ... were far more populist, with toe-tapping tunes and some hip-shifting syncopations."

Scott Cantrell, January 7, 2001, Dallas Morning News

"For the two Courcelle works and the well-known Coronation Mass of Mozart, Mr. Wilkins led sensitive performances that brought music vividly to life and never seemed scholarly exercises."

Olin Chism, March 21, 2000, Dallas Morning News