Some Reviews
Alirio Diaz: “M. Gasbarroni, is born to
fulfill delicate artistic missions”. 3/9/1971
____________
Brazil
LA PAZ THEATRE, Belem
“ Massimo Gasbarroni is a name to be kept in mind. His
performance at the La Paz Theatre strongly confirmed that
which international critics have already acclaimed, that he
is one of the greatest guitarists of our times. The version
given us of the 5 Preludes by Villa–Lobos with magical sound
appeared unbeatable to us, and no less was Arrulladora by Castelnuovo Tedesco that we had already heard in an earlier
recording by Segovia. With Mallorca of Albeniz he astonished
the audience, leaving them an unforgettable impression.”
W.E. Enrique, “O LIBERAL” - Belem, (Brazil) September,
13
1981
“GASBARRONI DIVULGADOR DE VILLA-LOBOS”
“DIARIO POPULAR, Sao Paulo August 28, 1981
“ESPECIALISTA EM VILLA-LOBOS”
“GAZETA DO POVO”, Curitiba August 18, 1982
UNIVERSITY, Assis
“ Massimo Gasbarroni ‘s concert can be summarized with two
words: refined and unique. Refined, because the feeling of
beauty created by the maestro was breathtaking. Unique,
because Assis certainly had never hosted a guitarist of this
class before and it is also difficult to say when such an
occasion will arise again.”
"A Gasbarroni cabe o mérito de revelar Villa-Lobo aos
Brasileiros“.
Benito Antunes, “VOZ DA TERRA” - Assis, Brazil August
19, 1981
China
HAIDIAN THEATRE, Peking
“ Massimo Gasbarroni’s recital caught the fancy of both
foreign and Chinese listeners. The slender musician seemed
to have a magic power of lifting one’s soul above one’s
body… The Elegia’s “wave” melody sent a shivering sensation
along one’s backbone. “It is one of the most sensitive and
exquisite sorts of music I have listened to. He plays with
such feeling, “remarked Gu Bi, a musician sitting among the
audience”.
Xu Xiangorum, “BEIJING WEEKEND” - Peking (China) September
18, 1992
Denmark
“His performance clearly demonstrated his mastery of guitar
playing, up to the point of perfection.”
F. Weiss, “POLITIKEN” – Copenhagen March
3, 1974
Egypt and Algerie
« Massimo Gasbarroni, guitariste hors
concours, a litéralemet ravi le publique, récital
ecceptionnel par sa perfection technique et par
l’interprétation d’une rare sensibilité. Ce récital à été
une demonstration incomparable de virtuosité qui a révélé
pour la seconde fois, un "Big" de la musique. Entre ses
mains la guitarre, non plus seulement instrument, est
devenue une voix vivante ; un chant capable de faire vibrer
à l’ unisson l’auditoire et de vibre en une inondation de
résonnances poétique. Exécution superbe d’un artiste
extrémement doué, et de préparation impeccable...En cette
varieté d’airs et de styles a émergé la versatilité d’une
technique très habile, lumineuse, riche en nuances et
couleurs. Une sensibilité sensorielle ajailli, raffinée ;
chargé de suggestions pourtant filtrée et purifiée par un
goùt très fin, maitre des émotions. Le publique, très
attentionné, et comme sospendu dans une atmosphère raréfiée,
a eu l’impression d’etre devant un artiste possedé par
l’ange de la musique, qui fait de cet élève de Segovia e
Diaz un des plus grands guitaristes de notre temps
Giselle Boulad, "LE JOURNAL D’EGYPTE" - Cairo June 3,
1977
Emirates
“CLASSICAL GUITARIST ENTHRALS AUDIENCE”
“celebrated classical guitarist Massimo Gasbarroni gave an
excellent recital. What delighted the Abu Dhabi audience
particularly was the rich tone of the guitar, and
Gasbarroni’s masterly handling of it. Gasbarroni played with
concentration and gave the pieces a particular profundity.
The Study 12 in particular was a virtuoso performance in
which he displayed his skill in playing as well as in
interpreting”.
Francis Matthew, “KHALEJ TIMES”, Abu Dhabi - June 1992
“KHALEEJ TIMES”, “SKILL PERFORMANCE BY ITALIAN MAESTRO”
“The three Preludes by Villa-Lobos, with which Mr.
Gasbarroni startede the concert ere an exhibition of skill,
sensitivity and finesse. In the second part,
Castelnuovo-Tedesco and Albeniz, Gasbarroni captivated the
audience by the breath-taking delicacy of his nuances, as
required in the interpretations of these works. The Mallorca
and Leyenda of Albeniz, best known to a large number of the
audience, made an emotional climax which was warmly
applauded.
Mr. Gasbarroni was recalled five times for more of his
exquisite performances, during which he satisfied the
unannounced wishes and anticipations of guitar-music lovers.”
“KHALEJ TIMES”, Abu Dhabi May 9, 1986
“ITALIAN MASSIMO GASBARRONI DEMONSTRATED HIS MASTERY OF THE
GUITAR:”
“As Gasbarroni proved classical guitar music explores a
whole world of harmony, rhytm and counterpoint, and the most
challenging of it can rival orchestral compositions in
intricacy. The Italian guitarist gave a fine account of the
works displaying a sureness of touch and firmness of grip
that demonstrated his grasp of the composition’s subtleties.
The Jan Kaspar Mertz’s Elegia and Niccolò Paganini Romanza
were rendered with assured elegance.. He was even more
magnificent on Fernando Sor’s Variations op. 28.
Gasbarroni’s playing here bordered of the lyrical and he
executed every involved section with a facility that could
have come only through intense study and practice. And
rounding off the first half of the programme with three
preludes by Heitor Villa-Lobos, Gasbarroni proved that the
unanimous description of him as one of the most intriguing
interpreters of the Brazilian composer’s music is not
unfounded. Indeed, on these pieces he truly came into his
own, playing with a fire and fluidity that endorsed his
mastery of the classical guitar.”
R.S. Murthy, “NEW STRAITS TIMES”, Kuala Lumpur June
27, 1992
France
CONSERVATOIRE, Nantes
« The Nantes audience will not easily forget this memorable
concert. »
"PRESSE OCEAN", Nantes December 18, 1986
« LA GUITARE INSPIRE’ DE MASSIMO GASBARONI »
"DERNIERES NOUVELLES D’ALSACE", Strasbourg January 19, 1985
CULTURAL CENTRE OF QUEULEU, METZ
The guitar recital of Massimo Gasbarroni surely was one of
the most relevant event in the season of the Cultural Centre
De Queuleu and the audience will not easily forget this
talented artist and his rich program »
"LE REPUBLICAIN LORRAIN", Metz December 23, 1986
« COMME LA MER ROULE SES VAGUES »
« Wha about this concert ? Words used can only talk unjustly
about it, being too beutiful, it belongs to eternity, and
since it expresses the unexplainable , the thing to do is to
listen to it ».
C. Geoffroy., LES DEPECHES, Dijon
“THE GREAT ART”
With Gasbarroni the guitar releases its purest and deepest
tones, through an accurate interpretation, solemn and
without burdens. With Tiento of Ohana once again Gasbarroni
overwhelms us with his clear and rigorous, interpretation;
and one easily discovers that the virtuosity under his
fingers isn’t by any means used to produce simple effects.
With the Popular Brazilian Suite, full of ironic beauty and
poetry, the Preludes and Studies of Villa-Lobos, Gasbarroni
is at ease like a fish in water, making use of an
immeasurable technique and superb musicality, showing his
pleasure in playing the semi chrome at an infernal pace.
With Massimo Gasbarroni one lives the “charme” from the
beginning to the end of the program. Gasbarroni is a
magician.”
J. Michelet “LES DEPECHES” - Dijon (France) December
6, 1986
“Gasbarroni gave the impressive sensation that every moment
was surging from his magic guitar the sound of different
instruments”
“ALSACE”, Mulhouse March 23, 1977
“Deux heures bien charmantes et de très bon gout” –
Jean Abel, “LE PROVENCALE¨¨, Marseille April 5, 1973
Georgia
OPERA, Philharmonic, Tbilisi
-“The two concerts by Massimo Gasbarroni have represented a
relevant event to the concert season of the Tbilisi
Philharmonic and will remain impressed in the minds of all
guitar fans.”
“VECERNI TBILISI” – Tbilisi (Georgia) March
21, 1980
Germany and Österreich
MOZART SOCIETY, Augsburg
“Massimo Gasbarroni is almost unique in his art as virtuoso.
His technique is extraordinary indeed, and audience was
deeply impressed by the artist’s talent and the incredible
accuracy of sound”
“AUGSBURGER ALLGEMEINE” - Augsburg
“A true virtuoso of the guitar. He reveals how much gives
himself up to meditation and transmits its effect to the
spectator . Even more astonishing is how Gasbarroni has
succeded in playing again the Fugue in G minor by Bach in such an intense way , both in its performance and in its
thematic development.
The numerous friends of the guitar
have here truly found what they were looking for”.
G., “SUDDEUTSCHE ZEITUNG” – Munich May
6, 1967
MUSIKHALLE, Amburg – “GUITAR RECITAL FULL OF DELICATE POETRY”
“He also qualifies himself as a pupil of SEGOVIA for his
virtuosity”
Z.R., “HAMBURGER ABENDBLATT”- Hamburg March 4, 1975
„GROSSES INTERESSE AN GITARRENABEND“
„Überraschend gross war das Interesse an dem Gitarrenabend.
Der Kulturverein Helmstedt stellte einer den bedeutendsten
Gitarrensolisten der Gegenwart vor. Neben der grossen
Technikbherrschung, so meinte der Künstler nach dem Konzert,
sei vor allem die enorme Konzentration, die bei jedem
Konzert erforderlich ist, hervorzuheben.
Er., "BRAUNSCHWEIGER ZEITUNG", Helmstedt (Germ.) Juanuary
1,
1987
PASSAU FESTIVAL
“With Villa-Lobos Gasbarroni demonstrated to us that he is
one of the best”
„ Alle möglichen Griff-Zupf-und Schlagtecniken fondert
Heitor Villa-Lobos in seiner Studie Nr 11, mit der
Gasbarroni bekundete, er ist ener der Besten. Regino Sainz de
la Maza „Petenera“, „Zapateado“ und „Fünf venezolanische
Stücke“ von Vicente Emilio Sojo beschlossen Beifall, folgen
sollten“.
Hermann Schmidt, "PASSAUER NEUE PRESSE" – Munich July
16, 1976
Israel
GREAT MUSEUM HALL M. RECANATI, Tel-Aviv
"Gasbarroni‘ s playing was extraordinary. A guitarist with a
complete mastery of the instrument."
"MAARIV" - Tel-Aviv October
1976
“The reknown italian classical guitarist Massimo Gasbarroni
is appearing for the third time in Israel and gave recently
a recital at the Tel-Aviv Museum Recanati. This time he also
captivated his audience with his absolute control on the
guitar and even flow of his playing, his sensitive
understanding of each style that he plays. He gave his
audience a superb feeling of the baroque period’s elegance.
A performance so beautiful as to touch our feelings.”
Yariv Heazrachi, “YEDI’OT HACHRONOT” - Tel-Aviv 13 October
1976
Italy
“..he played with a perfect style”.
“IL MATTINO”, Naples
“A well-balanced guitarist; sensitive in his interpretation,
with an extraordinary command of resonances and timbre
effects”
G.P “L’OSSERVATORE ROMANO”, Roma April 1, 1962
“Gasbarroni is one of the elite of the few authentic concert
artists who contribute most to revaluating the classical
guitar.
Gasbarroni is an high-level concert artist thanks to his
skill and authentic musical preparation. He is a refined
concert artist, sure of his ability and expression”.
“IL ROMA”, Salerno September 14, 1970
“APPLAUSI A GASBARRONI SOLISTA MONDIALE DELLE SEI CORDE”
Dino Foresio, “QUOTIDIANO, Taranto June 13, 1984
“What Gasbarroni succeeds in doing with the six strings of
the guitar is truly something extraordinary”.
“L’UNIONE SARDA”, Cagliari March 17, 1972
“He made an impression with his technique and mature
interpretation sustained by a delicate sensitivity”.
“IL MESSAGGERO”, Roma
“MASSIMO GASBARRONI REVALUATES THE GUITAR”
"CORRIERE DEL GIORNO", Taranto January 30, 1968:
“GREAT CONCERT IN THE MUNICIPAL HALL” - “THE GUITAR OF
GASBARRONI TOUCHED THE AUDIENCE”
“Gasbarroni è apparso subito uno di quegli artisti che
trasformano un concerto in un rito per la capacità di
avvincere l’uditorio, instaurando un clima di alte emozioni:
ad una tecnica dallo smalto nitidissimo egli aggiunge infati
fraseggio brillante, libertà e varietà di tocco e
compensione profonda dei presupposti etici e cultrali dei
brani che esegue”.
Santoro “LA NAZIONE”, Florence January 17, 1981
“Posizione compostissima, tecnica abile, leggera, ricca di
sfumature e gamme di colore, veloci e pronte le dita sul
tono giusto della tastiera, caldo e signorile il gusto
dell’interprete”.
R. Bonvicini,”IL TEMPO”, Roma July 12, 1975.
“TEATRO DANNUNZIO”, Latina
“VIRTUOSISMI E PASSIONE:OGGI IN
SCENA GASBARRRONI”
“Massimo Gasbarroni, capace di una straordinaria abilità, è
un virtuoso, un artista appassionato, in grado di affrontare
anche le pagine musicali più complesse per renderle alla
perfezione, con uno stile che diventa unicamente suo”.
Giuseppe Gazzeloni, “LATINA OGGI“ June 4, 2004
“REALTA’ SOVIETICA”, Roma: Inteview -
March-April 1984
“..A Rio de Janeiro la sua interpretazione di Villa Lobos
sbalordisce - è un po' come se un tedesco venisse ad
eseguire Verdi in Italia - e subito gli viene offerto un
seminario di chitarra all'Università di Rio. Penderecki in
persona lo invita a tenere dei corsi all'Accademia di Musica
di Cracovia…
( Ex) Jugoslavia
“The program, requiring a great virtuoso
artist, was brilliantly performed.
The select audience
enjoyed the beautiful sound the musician could obtain from
his precious instrument”.
M. Logar, “BORBA“, Belgrade April , 1972
Lebanon
AMERICAN UNIVERSITY 1980 - Beirut
“ Press notices that preceded Massimo Gasbarroni’s arrival
in Beirut
were so full of such phrases as “ true virtuoso”, ”sensitive
interpreter”, ”complete mastery”, “brilliant technique”,
“one of the finest” and “superb artist” that a worldly-wise
Beirut public was inclined to suspect this was going a bit
far to describe a player of a relatively minor instrument,
the classical guitar. After Gasbarroni‘s recital in the
Assembly Hall however, the audience was convinced that words
are all inadequate. The satisfaction that Gasbarroni gives
his hearers is beyond the power of speech to convey”.
George
Miller, American musicologist, “MONDAY MORNING”
November 24, 1980
AMERICAN UNIVERSITY 1981- Beirut
“In his recital at the AUB Assembly Hall Gasbarroni
confirmed the impression of those who had heard him before
that he is one of the most outstanding contemporary
guitarists and drew from those who heard him for the first
time such comments as “ This is the only classical guitar
recital I’ve ever enjoyed ”.
George Miller,
American musicologist, “MONDAY MORNING” Dec. 14, 1981
USEK, Beirut -“MASSIMO GASBARRONI AT THE USEK”: “A MEMORABLE
RECITAL”- “A MARVELLOUS GUITARIST”
“The audience will cherish an unforgettable remembrance of
Gasbarroni’s concert, so bewitched has this artist been. The
auditorium gave a long standing ovation to this wonderful
artist. Who allowed them to spend two hours in a dream,
where one is transported into a world where the symphony of
sound, due to one of the most delicate touches and to an out
of the ordinary virtuosity, was something truly unique.”
“REVUE DU LIBAN” –
Beirut May 7, 1988
« MASSIMO GASBARRONI OU L’ENCHANTEMENT ABSOLU »
« La guitare de Massimo Gasbarroni, l’un des meilleurs
guitarists contemporains, vibrait de poésie, d’intensité et
d’amour sous les doigts longs et affilés de ce virtuose venu
du pays de Dante. Grand de taille, une barbiche noire
soulignant ses traits d’artiste, le maestro s’est imposé dès
son entrée sur la scene. Un langage tacite, une complicité
profonde se sont installés entre lui et sa guitare. A eux
deux, ils ont formé une entité unique, splendide, difficile
à rompre. Et pourtant, que de réceptivité de la part du
public ! Chaque note, chaque frémissement, chaque
chouchotement, chaque cri arraché à ce fragile instrument
qu’est la guitare, a fait son chemin caressant non seulement
les oreilles des mélomanes Libanais, mais aussi et sourtout
s’inserant en eux pour ne plus ressortir ».
Karla Chemaly, "LE
REVEIL", Beirut April 16, 1988
LE REVEIL : « MASSIMO GASBARRONI : LA GUITARE LUI EST
SCEPTRE ET COURONNE »
« Un grand ami du Liban : le Maestro Massimo Gasbarroni,
considéré par la critique internationale comme l’un des
meilleurs guitaristes classiques contemporains. Les
mélomanes libanais étaient tout simplement envoûtais par la
guitare magique de ce grand artiste de grande envergure. »
"LE REVEIL",
Beirut
Malesia
“As Gasbarroni proved with his varied
programme, classical guitar music explores a whole world of
harmony, rhythm and counterpoint, and the most challenging
of it can rival orchestral compositions in intricacy. With
the preludes by Villa-Lobos, Gasbarroni proved that the
unanimous description of him as one of the most intriguing
interpreters of the Brazilian composer’s music is not
unfounded”.
“NEW STRAITS
TIMES”, Kuala Lumpur
Norway
MUNCH MUSEUM, Oslo: “STILISH GUITARIST”-
"A numerous and enthusiastic public audience applauded the
superb guitarist after the splendid and tasteful concert.
Gasbarroni treats his instrument with mastery and, without a
doubt, must belong to the world's elite of guitar players,
so stylish and fluid was his interpretation of a non-too-easy
repertoire, unusually interesting. The III suite by Bach was
iterpreted superbly…Gasbarroni presented one piece after
another with complete mastery, always simple and elegant in
form and expression, but with a personal touch as regard
rhythm and accent. Indeed, in this respect, the Tarantella
by Castelnuovo Tedesco was a triumph! We must hear more of
Massimo Gasbarroni "
"VERDENS GANG" – Oslo 5 March 1974
“A MASTER OF THE GUITAR AT MUNCH MUSEUM”
“AFTENPOSTEN” – Oslo March 5 1974
Oman
„As usual with great artists, a brand new
concert started with the „encores“. Gasbarroni was recalled five
times for more exquisite performances. His selection of
encores was a stroke of genial showmanship, which was
accentuated by his modest and friendly attitude towards both
music and audience alike”
AKHBAR OMAN – Oman May 13, 1986
Poland
SUPERIOR ACADEMY OF MUSIC, Warsaw
“He reminded us of how the guitar can sound in the hand of
an admirable artist”.
Janusz
Ekiert, “EXPRESS WIECZORNY” – Warsaw May
9, 1972
FESTIVAL “Music in the Old Cracow” (repeated performance)
“THIS MARVELOUS ITALIAN GUITARIST”
“ Gasbarroni is an exceptional soloist who places his
technical perfection at the service of the musical idea and
captures the audience by creating an affectionate feeling
that stems from an ethereal happiness to pathos.”
Olgierd
Jedrzejczyk, “GAZETA KRAKOWSKA” - Cracow August
18, 1987
OLD SYNAGOGUE, Cracow
“A GUITAR IN THE SYNAGOGUE”
“Massimo Gasbarroni is a true artist. In his hands the
guitar becames a little orchestra. From his instrument
surges a sound particularly beautiful. Also his program is
unusually interesting. With the spanish and brazilian music
the guitar, specially bound to Iberian music, in the hands
of the Italian artist fascinated us and brougt us the
fragrance of this world”.
Zbignew Lampart, “GAZETA KRAKOWSKA” – Cracow August
27, 1984
“THE SIX STRINGS”
“Gasbarroni has an excellent technique, but he doesn’t
display his instrumental virtuosity nor does he underlines
it. His playing is the result of his degree of concentration
and inner discipline. He is a master in creating the most
various versions of feelings, particularly the atmosphere of
nostalgia resounding with exotic tones, as in Mallorca by
Albeniz or in the 5 Preludes by the Brazilian Villa-Lobos,
to whom Gasbarroni dedicated the whole second part of the
recital. The guitar under Gasbarroni’s fingers has wholly
expressed its natural richness of colours.
In a few words, an unforgettable evening”.
Adam Walacinski, ”DZIENNIK POLSKI” - Cracow August
27, 1984
"A GUITAR IN THE SYNAGOGUE"
”...the historic Museum of the ancient Synagogue echoed with
voices of ancient splendour. Gasbarroni showed all of us just what
it means to play the guitar, surprising everyone not only by
the brilliance of his virtuosity but also by the enrapturing
delicacy of sound and the crystal transparency of tones in
passages of extremely difficult execution”.. Despite the
late hour I left the Synagogue, I came away more than sure
that I could have easily stayed on for many more hours to
hear the magical guitar of the Italian virtuoso...”)
Leszek Polony, “GAZETA KRAKOWSKA” - Cracow
“Massimo Gasbarroni is a true artist”
"DZIENNIK POLSKI" - Cracow
Portugal
GULBENKIAN FONDATION, Lisbon
“Massimo Gasbarroni is a true artist in the skill of this
instrument. In all the styles, old, modern and contemporary,
of Gasbarroni’s art is really impressive”
José
Blanc, “DIARIO DE NOTICIAS” – Lisbon December 10, 1977
Rumania
“ ..a demonstration of real virtuosity. An
artist who lives every sound by making it vibrate in an
inundation of poetical reverberation, a musician who
enunciates his phrases without facile affectations,but in a
well-balanced way, full of piercing sentimental
feeling.Gasbarroni has shown himself to be one of the finest
performers of this instrument”.
J.V.
Pandelescu, “CONTEPORANUL” – Bucharest February 2, 1973
Russia
TCHAIKOVSKI HALL, Philharmonic, Moscow -
"An earnest musician who clings to a rigorous style which he
retains while performing classical and contemporary music.
The listener is astonished by the exceptional beauty of his
sound and by his masterful virtuosity. A feeling of calm,
intimate emotion and precise rhythm are distinctive traits
of this musician. His grace in handling the instrument and
his talent as a guitarist are astonishing: during his
concert one never stops to be amazed that the musician's
hands appear to be a natural continuation of the instrument
itself, undeniably linked to it.
His performances have met
tremendous success."
Vladimir Slavski, "SOVIETSKAIA KULTURA" – Moscow August
22, 1968
Moscow Guitar Society 1963:
”Moscow guitarists have already heard many foreign virtuoso
of this instrument before, but they were simply astonished
and impressed by his mastery, by the highly technical skill
and his delicate sensitivity. With Gasbarroni Italy , the
homeland of illustrious musicians, has found a great
Interpreter.””
The
Guitarists of the Moscow Guitar Society
Sweden
“THE ART OF COLOURING : “A MASTER OF THIS
SUBTLE ART OF LENDING VARIETY AND RANGE TO INSTRUMENT SOUND:
MASSIMO GASBARRONI”
What is possible to obtain from a guitar is something of
absolutely incredible. He is a lyrical player who, with
careful forethought and his feather-light touch creates
music. Of course he also possesses a brilliant technique; he
is a wonderful musician, this man who sits almost without a
movement with his bearded profile”.
C.
Gunnar Ahlen, “SVENSKA DAGBLADET”, Stockholm March
8, 1974
Thailand
“ He intrigues listeners with his soft yet
deeply passionate touch. He makes them lean forward, all
senses sharply alerted to catch his almos inaudible passages
of sheer fragility and transparency. From its “Mancini &
Locci” guitar he could produce a tonal variety that ranged
from a strong, round and full-bodied low register to mellow,
expressive mid-range, to brilliant though not blatant high
notes that carry clearly across the room.
Renowned for his particular affinity with the music of
Villa-Lobos, Gasbarroni justified all the encomiums with
playing of utmost sensitivity, successfully revealing the
inner meaning of the Brazilian composer’s works.
Villa-Lobos’ lyricism is almost always veiled in modernistic
phrases and somewhat apologetic in flavour. It is up to the
performer to bring out the loveliness into the open….The
Italian guitarist was suitable dramatic in the second
prelude, with its pregnant pauses and single-note harmonics
that give an ethereal effect.”
Panya Panichsrisuk “THE NATION”- Bangkok, June 25, 1992
Venezuela
CONSERVATORY, Caracas
"A sensitive interpreter whose limpid performances qualify
him as one of the most refined contemporary guitar soloists.
Gasbarroni is possessed by the "angel of music". With serene
fullness of expression he becomes one with the music and
performs with the difficult ease of the great concert artist.
There is the aura of the true artist in him. Music surges
from his guitar with spontaneous beauty. In his playing
there is no sign of that great effort that in most cases
damages the performance through insufficient technique or
lack of musical instinct. Gasbarroni has the intelligent
comprehension and the good taste to express with naturalness
what authors have created. His performances are the product
of a thoughtful penetration, knowledge of cause and effect
and from this comes the series of subtleties that gives a
clear profile to these interpretations. Beyond any doubt he
belongs to the category of the greatest guitarists of our
times. A fine recital by a superb artist."
R.H.Lopez, “EL NACIONAL”, Caracas August
22, 1975
“In this difference of areas and styles the interpretative
sensitivity of Massimo Gasbarroni is appreciated even more.
Together with his technical skill, his stylistic versatility,
his artistic “angel”; those gifts, genuine and admirable,
that reveal, define and impose upon the concert artist born
to be such the rare imperative of the guitarist, that is,
the reawakening of a small instrument in the soul of the
great public”.
Israel Peña “ULTIMAS NOTICIAS” – Caracas August
31, 1975
