ALEXANDROS  KAPELIS
“…Kapelis threw himself forcefully into the wild raptures of Claude Debussy's "The Joyous Island" (indirectly inspired by Aphrodite's island, Kythira) and expertly limned the classical poise of his "Dancers of Delphi." Kapelis really shone, though, in the non-mythological "Etudes-Tableaux," Op. 33, of Sergei Rachmaninov. Three myth-oriented miniatures by Jean Philippe Rameau also received well-turned performances, including a scintillating chase from "Les Cyclopes.” THE WASHINGTON POST (Washington, D.C.) “A rarity among his generation, Kapelis plays expressively and evocatively. His emotional and psychological explorations into music make him one of the most promising young classical musicians of any nationality in New York today.” INTERNATIONAL PRESS SERVICE- IPS (New York) “…there is in his playing a precision of rhythm, a dedication to clarity and a clear attentiveness to form. One can almost see him listening to the composer’s voice. This was especially obvious in the concluding piece of the program, Rachmaninoff’s Études-Tableaux, Op. 33. Closest to Kapelis essence as a musician, these miniature tone poems require dramatic expressiveness, but it is an expressiveness best served by containment and control. These studies demand that the pianist use a full range of technique in rendering the total palette of keyboard colors. Kapelis engaged that challenge with a driving energy, under which must beat a passionate heart.” PIEDMONT POST (San Francisco) “Kapelis possesses as undeniable temperamental vein and a dominion over the Lutoslawski Paganini Variations for piano and orchestra. This work is full of mortal difficulties, even for such a well-equipped instrumentalist. Kapelis overcame all these traps with great success.” EL PORVENIR (Monterrey, Mexico) “Kapelis does not indulge aimlessly from one note to the other, neither does he linger unnecessarily. Thus, he sounds neither vulgar nor flashy. On top of that, he masters lyricism and passion convincingly and with bravura.” THE ORIZZONT (Valetta, Malta) “The performance of the Schumann piano concerto responded to the passionate impulse that echoed in the youth of Alexandros Kapelis, exulting the lyricism and the dialogue between the piano and the orchestra. The soloist took advantage of his technique, energy and vitality, qualities that augur him a brilliant future in his musical career.” EL COMERCIO (Lima, Peru) “Kapelis proved to be a well-schooled performer of Scarlatti, achieving the always-difficult adaptation from the current piano to the baroque clavicembalo. The artist once more was faithful to the pristine text... Kapelis displayed his traits as a virtuoso of the keyboard, without any concession to the public nor to decadent sentimentality.” DIARI DE BALEARS (Mallorca, Spain) “It is needless to point out the huge demands that Mozart places on the performer regarding maturity of expression, stylistic fidelity, cleanliness, and structural balance. Even so, Kapelis passed this “trial by fire” with an ease that truly impressed us. With his clean, sure technique, with his evenness, and especially with his correct weight of sound (so it would not overpower but neither fall into “angelic sweetness”), Kapelis created an interpretation that displayed not only his pianistic talent, but also his indisputable expressive maturity.” ESTIA (Athens, Greece)
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