"What listeners wouldn’t have wanted to miss, above all, in the season opener was violinist Kenneth Renshaw’s gorgeous, finely detailed reading of the solo part in Prokofiev’s Violin Concerto No. 2...a marvel of emotional maturity and assurance."
San Francisco Classical Voice, October 2015
"The evening's highlight was the Prokofiev Concerto, performed in the first half with violinist Kenneth Renshaw...Renshaw impressed with intelligent phrasing, crisp intonation, and straightforward eloquence. In the concerto's outer movements the violinist combined incisive articulation with dramatic expressiveness. His playing in the slow movement was both rapturous and clear-eyed, a secure blend of warmth and eloquence."
San Jose Mercury News, October 2015
"The world changed, and Mozart will never be the same after Kenneth Renshaw's performance...His first movement was rich and inventive - the cadenzas were his own original. His intense musicality radiated in the Adagio, and his vivacity and finesse were marvelous in the Rondeau Finale."
- La Libre Belgique, May 2015
"Kenneth brings an intense engagement and a very deep thoughtfulness to his playing that is incredibly rare for a musician of any age. The fact that he is so young merely adds to the miracle that is always so palpable in a performance by Kenneth Renshaw."
- Donato Cabrera, Music Director of the Las Vegas Philharmonic and the California Symphony, February 2014
"Even among a high-class field, Kenneth Renshaw was the stand-out…Renshaw had a quiet, intense presence, and his Piazzolla was unshowy but perfectly judged, and very stylish for its lack of fuss. The rest of his semi-final round was marked by true chamber music making, and a natural and honest sense of communication, which was also true of his Sibelius Concerto in the final."
- Ariane Todes, The Strad Magazine, July 2012
"Renshaw took the stage before intermission for a vivid and often eloquent account of the Sibelius Violin Concerto.The opening violin melody, placed above barely audible string accompaniment, is what sets the tone for this piece, and Renshaw established his bona fides immediately with a pure-toned and self-assured rendition of the main theme. That was followed by virtuoso execution of the concerto's more brilliant passagework, and a sensitive account of the slow movement."
- San Francisco Chronicle, March 2010