Following her BBC Proms Debut at the BBC Ten Pieces Proms, July 2016:

  • “Matilda Lloyd demonstrated her dexterity and elan in the finale of Haydn’s Trumpet Concerto” – Brian Barford, Classical Source

Following her EUYO performance of Mahler 1 as Principal Trumpet in Bolzano, August 2016:

  • “Gorgeous trumpet playing” – Jane Shuttleworth, Bachtrack
Following a live broadcast on Radio 2 with the BBC Concert Orchestra, February 2015:
  • The truly memorable artist on the bill is Matilda Lloyd...She’s remarkable.” Gillian Reynolds, Telegraph Review – Pick of the Week
Following Petrushka with the National Youth Orchestra at the BBC Proms, August 2014:
  • The flirty Ballerina’s trumpet taken by the right sex – Matilda Lloyd, surely an Alison Balsom in the making, who went on to offer sassy vibrato in the Pas de deux with the Moor. David Nice, The Arts Desk
After winning the BBC Radio 2 Young Brass Award, May 2014:
  • Flawless technique, a degree of artistry and communication...that only the finest performers possess” Kenneth Crookston, British Bandsman Magazine
Following Mahler’s 5th Symphony with the National Youth Orchestra at the Barbican, London, January 2014:
  • Matilda Lloyd’s halting, edgy trumpet solo was among the best I have heard in this work." Graham Rickson, The Arts Desk
  • “Displaying nerves of steel, Matilda Lloyd, set the juggernaut in magnificent motion with her doom-laden solo” John Allison, The Telegraph
  • From her first difficult and cruelly exposed fanfare to her final notes, she played impeccably, with great assurance, a secure technique and a beauty of sound that some professional colleagues I have heard would wish they had.” Jim Pritchard, Seen & Heard International
  • Inspiring...Matilda Lloyd coolly blasting away the cobwebs as Paul Daniel gave the downbeat on Mahler’s 5th symphony” Neil Fisher, The Times
  • Pursing her lips in preparation for the introductory fanfare of Mahler’s 5th Symphony must rank among the most terrifying moments of...Matilda Lloyd’s life, but her grace under pressure set the tone for a sublimely assured traversal of the work”, Alfred Hickling, The Guardian