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John Sunier
Audiophile Audition, October 2014

Gregoriadou did all the arrangements herself and her playing of the very difficult passages has great clarity and perfection of fingering. Sometimes the sound is very much like a harpsichord, especially on the Scarlatti Sonatas. © 2014 Audiophile Audition Read complete review



Brian Wigman
Classical Net, February 2013

…Gregoriadou is incredibly accomplished, musical, and intelligent, I speak for the moment on the unique timbres she draws from her guitars and the utterly fascinating effect this has on the ear.

And what a program: each piece is good as the next…This stands not only as a testament to Smaro Gregoriadou as an interpreter, but also as an arranger. When I say that you can’t tell which pieces are being premiered, I mean that as a compliment, for each piece is played with total commitment and impressive virtuosity.

Delos does very good work and has produced some outstanding recordings. This is no exception…Warmly recommended. © 2013 Classical Net Read complete review



Kenneth Keaton
American Record Guide, November 2012

…Gregoriadou’s…playing…is superb. Her technique is flawless, no matter what demands she encounters. Her rhythm is fluid and rock-solid, and her ornaments…burst like fireworks. [The] notes are fascinating…Her choice of high Baroque repertory is perfect…And that’s the thing about Baroque music—Bach sounds wonderful on anything, whether a harpsichord or piano or synthesizer or harmonica. It is just magnificent music.

Gregoriadou’s Scarlatti is high-energy playing, full of joy…the Prelude, Fugue, and Allegro…is…a moving and kinetic performance. Gregoriadou’s performance is…exciting, joyous, and alive. © 2012 American Record Guide Read complete review on American Record Guide online



Jean-Yves Duperron
Classical Music Sentinel, August 2012

…it’s Gregoriadou’s amazing musicianship that brings these guitars to life.

She finds and uses each guitar’s unique nature to project the music’s character and purpose. The clarity and separation of each musical line and the perfect dynamic balance of the counterpoint under her fingers are uncanny. Her musical approach to each individual composer is tailored to each one’s style. Under her fingers Scarlatti is spirited, Handel is noble, and Bach is fluid. Her technique is so solid that it doesn’t even factor into the big picture. All the pieces on this CD were arranged by Gregoriadou herself for double-course pedal guitar or single-stringed scalloped pedal guitar, and she did not try to cover-up any difficulties inherent to the music in her transcriptions. Some of the fingering work she does would make lesser guitarists cry for mercy. Some of these works are hard to play in their original versions, with both hands in front of you on the keyboard, therefore they must be a tremendous challenge on a fretted instrument, but Gregoriadou makes it all seem so easy. The musical lines flow naturally, even in the thorniest passages. All the embellishments, trills and double mordents are present, true to the baroque style, and at times you could swear that you are listening to a harpsichord.

The CD includes a bonus track on which, through the use of examples, Smaro Gregoriadou herself explains the characteristics of the different types of strings and guitars used for this wonderful recording. Highly recommended for all guitar enthusiasts and baroque music fans alike. © 2012 Classical Music Sentinel Read complete review






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3:35:41 AM, 5 September 2015
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