OpusColorado.com

The Suite Antique is very difficult for the flutist because of its range and dynamic level, and therefore it requires a great deal of diaphragm support. Du Toit made the entire work look very easy….Du Toit’s tone was rich and mellifluous and extremely satisfying to listen to….And of course, when the conductor is working with a soloist with the ability of Du Toit, it makes his job much easier.
It seems to me that in this difficult piece, especially in the extreme dynamic levels, the flutist would have to be very careful with embouchure changes on the top notes in order to reach them without overblowing. I say that because the higher range notes were so soft and yet so rich. And I know from my own accompanying experience with a flutist, that Du Toit has incredible diaphragm support.
…The last movement, Rondeau, is quick and hard driving, but Du Toit seems not to be troubled by that at all because he possesses the technique to make everything look so easy. I was watching him very closely to determine how he got such an incredible sound in the quiet parts without going flat, and he seemed to keep the flute absolutely level and even thrust out his lower jaw so that the pitch would not go flat. Maestro Saless seemed to enjoy working with such an accomplished soloist.

ColoradoClassical.blogspot.com

Cobus’ performance was light and crystal clear, capturing the emotional journey of each movement perfectly. He performed the nuances of the music flawlessly, shifting to each new style with ease, perfectly suited for music that should feel effortless.

Pretoria News

Inspired, Du Toit makes you believe the impossible
This was a profound and immensely stimulating recital. Not words often used, especially when music with a specific entertainment value collectively forms a rather substantial part of the whole.
It’s like taking the part of your brain that is musically receptive, and perhaps had got a bit soggy, to the dry cleaners. With everything spic and span and refreshed, you hear things you wouldn’t believe possible.
Cobus du Toit, a former flute student at Tukkies, is now a doctoral student at the University of Colorado, where he also teaches. He’s an inquisitive musician, like everyone in that profession should be but seldom is.
His recital opened with an African-inspired work: Orange Dawn by Ian Clarke. Daybreak sounds in the Great Rift Valley are evoked. Flowing musical patterns, ecstatic high notes, a more reflective section with trills and sliding notes, all formed part of the work’s strong pictorial entity.
Michael Colquhoun’s Charanga for solo flute took us on an even higher trip with his extended techniques, such as multiphonics, glissandos, flutter-tonguing, singing and playing simultaneously, with added guttural sounds, at a very risky tempo. It also carried incantatory elements that made it timeless right up to its foot-stomping final chord.
Pianist-composer Gieseking (1895-1956) may be dead, but his Sonatine for flute and piano is alive with delicate lyrical expressions and communication between the two instruments, classical in structure, but romantic in idiom. The Allegretto made one think of graceful music enfolded in a snug haute couture jacket. And yes, the Finale does at times sound like a piano concerto with flute obligato!
In the breezy reading of Poulenc’s Sonata, one experienced certain elements with renewed clarity, like the elegant give and take between both instruments in the Cantilena.
CPE Bach’s Hamburg Sonata in G major was enriched with beautifully contoured melodic playing and florid ornamentations. Du Toit made of Hendrik Hofmeyr’s Incantesimo for solo flute a kind of personal meditation.
Samuel Zyman’s Sonata was by far the most substantial, thought-provoking and gripping work of the evening. It dug deep into the expressive potential of both instruments, with a novel-sounding surprise with every turn of phrase.
With Du Toit in flight one is never aware of technique alone. He is driven by purely musical inspiration. On that level he had an ideal partner in Pieter Jacobs.

Herald Tribune

By contrast, a ensemble comprised of Cobus du Toit, flute, Andy Liang and Alex Gonzalez, violins, Min-Kyung Sung, viola, and Jiyoung Jee, cello, played Alberto Ginastera’s “Impresiones de la Puna” with glorious richness and delicate control, particularly in the soft passages in which the rich tone of the flute was especially impressive.

Mlive.com

…Cobus du Toit, performed the Flute Concerto of Carl Nielsen with great technical dexterity.

Artslink.co.za

It was Du Toit’s consummate professionalism as a flautist that triumphed on the night.

Die Burger

Du Toit’s excellent and wonderful musical interpretation of three movements of the Undine Sonata by Reinecke proved that he was the worthy winner.

Cobus displayed excellent intonation and breath control in Ibert’s  “Jeux sonatine”.

UNISA e-news

Flautist Du Toit performs excellently at duo recital
On Sunday 13 July 2008, the 2007 winner of the UNISA Performers’ Licentiate Scholarship, flautist Cobus du Toit displayed excellence by performing his demanding programme quite brilliantly at the flute and piano duo recital at the ZK Matthews Great Hall. Du Toit proved beyond doubt that he ‘is quickly establishing himself as one of the leading flautists of his generation’.
His stylistic rendering of JS Bach’s Sonata in E minor was followed by Luciano Berio’s technically demanding Sequenza I for solo flute, with pianist Annalien Ball Poulenc’s popular sonata for flute and piano enjoyed a consummate performance.
The works of French composer, Paul Taffanel and Georgian composer Otar Taktakishvili are rarely heard in our concert halls. The sizeable audience appreciated the opportunity to appreciate Cobus’ and Annalien’s rendering of the Andante Serenade and the Sonata by these composers respectively.”

Die Beeld

Du Toit en Jacobs bied juwele
Cobus du Toit is n begaafde fluitspeler, ‘n musikus in die vroeë, eintlike beginstadium van wat beloof om ‘n opwindende loopbaan te wees. Hy beskik oor klaarblyklik al die solistiese eienskappe: musikaliteit en ‘n fisieke koördinasie as gawe, wat deur harde werk tot ‘n uitstekende tegniek ontwikkel.
Daar is ook iets ekstra in sy spel en aanbieding – ‘n veerkragtigheid in spel en vertolking wat daardie iets spesiaals aan die musiek verleen en wat ‘n solo-uitvoering ‘n doelgerigte, lewens-kragtige ervaring maak. Dwarsdeur sy konsert vir die JMS was daar nie ‘n enkele oomblik dat die aandag gedwaal of ‘n sprankie verveling ingetree het nie. En dìt boonop in ‘n program wat vir die gehoor ook iets nuuts sou wees, behalwe die CPE Bach- en Poulenc werke!
In Pieter Jacobs het hy ‘n pianis gevind wat oor ‘n insgelyks kleurryke benadering beskik. Die duo se spel het ‘n gelykwaardige musikale inslag aangedui, klinkend individueel, maar ook soos ‘n klotsende getygolf.
‘n Program gelaai met hoogs uiteenlopende werke- Ian Clarke, die immer- “eksperimentele” maar altyd fassinerende Colquhoun , selfs ‘n Walter Gieseking sonatine, Hendrik Hofmeyr se Incantesimo (vir solo fluit) en ‘n uitmuntend gekonstrueerde, boeiende sonate van Samuel Zyman – bied soveel juwele en verrassings dat dit die ontvanklike luisteraar meer as tevrede huis toe stuur.
‘n Glinsterende pragkonsert, algeheel meelewend.