Standing out was young conductor Pablo González, who was attentive to every silence and every cue for the entire symphony orchestra, weaving and managing this tonal revolution
— Isaac J. Martín, Opera World (February 2015)
[Pablo González] provided the score [Madama Butterfly] with a symphonic feel that greatly benefited the musical discourse. Ample and varied dynamics, richness in timbre and a deep engagement from the Oviedo Filarmonía were all key elements
— Ramón Avello, El Comercio (November 2014)
González conducted Richard Strauss’s spectacular tone poem [Thus spoke Zarathustra] with an eloquent narrative thrust, elegant phrasing and a solid understanding of the composer’s architecture
— Javier Pérez Senz, El País (October 2014)
González instilled greatness into a work [Verdi’s Requiem] that combines, in equal percentages, lyric emotion, expressive sincerity and spirituality void of rapturous mysticism
— Javier Pérez Senz, El País (April 2013)
González approached Bartók’s Concerto for Orchestra successfully and in a very unique way
— Manel Cereijo, El Periódico de Catalunya (January 2013)
Pablo González, receptive, flexible, gave the reins to the soloist [Arcadi Volodos] but he remained attentive and close [...] A vigorous reading by Pablo González [...] Little by little the work that this tenacious and patient conductor has been doing with this orchestra ever since he arrived is showing. It won’t be long before it shines through in all its glory.
— Xavier Chavarria, Revista Musical Catalana (October 2012)
A calm and paused, yet unstoppable career”
— José Luis Pérez de Arteaga, Beckmesser (February 2011)
He has a clear idea about where he wants to go and he communicates it effectively and through limpid language
— Xavier Pujol, El País (January 2011)
The London Symphony Orchestra weekend in Madrid had a protagonist: Pablo González
— Luis Suñén, Scherzo (July 2010)