„Today marks the 27th anniversary of Amadinda’s first performance in Prague, an occasion the ensemble celebrated with a bravura performance last night at the Conservatoire’s new concert hall. Along with the group’s unique synthesis of primal rhythms and modern music, the program offered a reminder of Amadinda’s impressive accomplishments and standing in the global music community. (…)
Steve Reich composed the Mallet Quartet for Amadinda in 2009. Reminiscent of many of his earlier minimalist  works, it’s a three-movement piece for two vibraphones and two marimbas, with distinct strains of progressive American jazz – or is it that contemporary jazz players have been influenced by Reich? Either way, the players did a fine job of handling the pulsing rhythms and delicate interlocking melody lines (…) …this was a world-class ensemble marking a significant moment, not only in its own history and development, but for the venue.”
(Prague Spring, May, 2011 – Frank Kuznik, Prague Culture)

„To close the evening, mezzo-soprano Katalin Károlyi and the Amadinda Percussion Group gave a totally winning reading of Síppal, dobbal, nádihegedűvel, Ligeti's exploration of the poems of Sándor Weöres. With a variety of imaginative percussion effects (including slide whistles, harmonicas and ocarinas), the composer plunges into a world of restless syllables that sound like oddly discomforting children's rhymes. Ms. Károlyi and the percussionists seemed bursting with enthusiasm, matched by that of the audience cheering at the end.”
(New York, Zankel Hall, January 2009 – Bruce Hodges,  MusicWeb International)

„On Lukas Ligeti‘s Pattern Transformation and Steve Reich‘s Nagoya Marimbas, Amadinda worked chord progressions and rhythmic exercises on a traditional xylophone into intensely delicate patterns and textures. All four members played as one single, breathing organism, and every time one of their mallets struck the notes on the lower register, you could feel it, like some weird knot of sadness easing up in your chest. The result was a series of beautifully layered moments, rising and falling in the fullness of sound, with precision underpinning each composition throughout. (…) …beyond the beauty or intelligence of Amadinda‘s music, there were a few moments in their performance where you realized that, hey, these boys have a sense of humor, too. Thierry de Mey‘s Musique de Table (…) was outrageously funny and the audience responded with uproarious applause. (…) Their mission is a curious one and reveals something about the admiration they provoke onstage: Amadinda is comitted to inspiring Hungarian and international composers to create new music for percussion. And one gets the sense the reason behind this is that they have so much fun playing.“
(Beirut, Al-Bustan Festival 2004 – Kaelen Wilson-Goldie, The Daily Star)