Her musicality and perfect technique enable her to perform works of different latitudes and styles, from baroque to the most contemporary. Her interpretative maturity expresses itself in a personal impression that enthralls specialists and music-lovers. Her work comprises different projects with one sole purpose: to exalt good music.

… That is when González Núñez, … showed her professorship: it is not only the pureness of sound, praised and applauded by everyone; it is even more, the internalization of language, her power of conviction and charm, her integration to the orchestra, as a leader. Stellar moments for the National Symphonic Orchestra and the young flautist.
Pedro de la Hoz (May, 1999) Periódico Granma.

…However, the feminine touch could not be missing; Niurka González’s romantic flute could be heard throughout the stadium. She, with her unique charm and love for the instrument played, could bring out tears in the eyes of those present.
Orlando Santos (May 2007) Dominican Republic

… Niurka González merits a separate paragraph, what a way this girl has of playing the flute and the clarinet! She really shone, in the technique and mastery of these instruments, which, although they sound very sweet, require special physical conditions. The rests, tones and even her body expression, showed us a young and brilliant artist, feminine and energetic. The audience, which is usually wise, rewarded her correspondingly: applauses that became an ovation.
Estrella Díaz (May, 2008) La Jiribilla, Cuba

…Her musical culture enables her to perform each masterpiece in an adequate style frame, both as regards the author, as well as the historical period that defines him.
Harold Gramatges (August, 1996), extract of a letter.

Her interpretations combines technical perfection with a passion that nearly makes me jump in my seat.
Robert Bigio (December 2004) Pan Magazine (British Flute Society)

… Niurka González –presently one of the most extraordinary young flautists in the world- with her brilliant interpretation of “La región más transparente” (“The most transparent region”)
…Isabelle Hernández (2004) Presentation of Master Leo Brouwer’s CD Homo Ludens.

… Especially, Niurka González, who played the “travesera” flute in such a way that everyone was amazed. It will be necessary to follow her track.
Anonymous (November, 2007), Telde, Tenerife, Spain

On the other hand, the second CD, totally subordinate to literary references –which is not a novelty for this composer–, starts with “La región más transparente” (“The most transparent region”) (1982), for flute and piano, based on an Aztec poem, which in its turn inspired Carlos Fuentes’ homonymous novel. In this case, the excellent participation of young flutist Niurka González, who adds to her technical mastery, a remarkable interpretative maturity, must be pointed out.
Clara Díaz Journal “Clave, Revista Cubana de Música” (Journal) Year: 5 Number: 2-3 Page 96.

... the flute of Niurka González would cover Latin American academic music from its canonical aesthetics to the most irreverent ones.

 

Layda Ferrando. April 14, 2017. CMBF, National Musical Radio.

Available at: http://www.cmbfradio.cu/articulo.php?art=3390

… Niurka González Núñez came afterwards to charm with her flute, the work performed: Concert for flute and orchestra in D major. The Cuban was totally devoted, deserving general applause, a fierce ovation and the recognition of her colleagues. It was enough to see González’s face to realize that to take a wind instrument and stand on stage, took something more than technique and hours of rehearsing.
Magdiel Torres Magaña (November 24th, 2006) Provincia de Michoacán newspaper, Mexico

… in which occasion she again surprised and astonished with her supreme technique and musicality…
We are in front of a great musician: Niurka González
Leo Brouwer (August 1996), extract of a letter.

… The flautist Niurka González Núñez was the soloist that played No. 2 Concert for flute and orchestra in D major, in which she displayed talent and virtuosity, as well as excellent technique and rhythm, which were immediately acknowledged by applauses from the audience.
Heriberto Cortés Vélez (November, 2006) Cambio de Michoacán newspaper, Mexico

...when accompanying a flutist of Niurka Gonzalez’ stature, who with distinctive lyricism evokes the colossal dimension of the hymn “Prayer to a peasant” (Plegaria de un labrador) in a version Leo himself (Leo Brouwer) made for this concert.

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Guille Vilar (2009) "Desde la humanidad de un concierto. Victor Jara In Memoriam. 35 años después.”(From the humanity of a concert. Victor Jara in memoriam. 35 years after.) La Jiribilla (Cuba)

… About the stature of Niurka González as musician, she speaks for herself, since she is magnificent throughout the whole disk…
Laura Inclán Narbona (July, 2002). Presentation of CD Flauta Virtuosa.

Los bonitos arreglos de la virtuosa Niurka González en flauta traversa y clarinete...

4 de diciembre de 2011

Fuente: Telam

Disponible en: http://www.telam.com.ar/nota/9420/

… She has a great musicality, combined with a fine technique.
Eivind Aadland (February 1996), extract from a letter

Fans will be pleasantly surprised to hear Niurka González, a classically trained musician, accompanying him (Silvio Rodriguez) on a seductive flute.

… Niurka González successfully overcomes this trial. She has already revealed herself as an excellent flautist, as much for the achievement of a beautiful and heavenly sound…, as for the understanding of the style and ornamentation of the epoch.
María Antonieta Henríquez (2000). Presentation of CD Barroco Trópico

… Niurka González’s recital started with F. Doppler’s Hungarian Pastoral Fantasy. But once Niurka (born in Cuba) changed to Latin American music we could hear her in all her fullness, especially in Leo Brouwer’s “La región más transparente” (“The most transparent region”). Her deep expressiveness astonished me.
Mike MacMahon ( 2006) Pan Magazine, British Flute Society.

… the huge possibilities of flautist Niurka González Núñez, to whose beauty of sound, we must add a true passion for communicating the undertone of each score.
Pedro de la Hoz (February, 2002), Periódico Granma.

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