Pescara Auditorium De Cecco
But we can't, among
these splendid interpreters, but mention in a particular manner Cathy
Berberian. [...] The same for the trombonist Michele Lomuto [...].
Here the trombone, alternating instrumental and vocal sounds, makes
his way to unusual paths, to unexplored places, to the limits of the
electronic sounds.
Il Messaggero 11/3/82
C. B.
Roma Teatro Ghione
A sublime trombone, between
jazz raptures and classical music austerity. A trombone for which to
howl in the cup-shaped mouthpiece does not betray at all the
instrumental sound spectrum. A trombone which becomes a Shakespearian
character in the sliding between silver timbre and human whisper. A
trombone which makes use of an ex-plunger as a mute. A trombone
exceptionally in tune, who introduced wit in music, at last.
Corriere
della Sera 12/27/86 Mya Tannenbaum
La
Spezia Società dei Concerti
Michele Lomuto, an
extraordinary trombonist, endowed with rare capacities [...] a pure
resounding performance...
Stampa Sera 1/11/86
Enzo Restagno
Firenze Musicus Concentus
The uncommon
bravura, the inventive power and the intelligence of the musicians,
who the other night livened up the nice party at the Auditorium of
Palazzo dei Congressi, is beyond all doubt [...]. But it would be
right to say that Lomuto, with his incomparable interpretation, held
the primacy of liking and musical intelligence.
La Nazione
4/29/87 Leonardo
Pinzauti
[Luciano Berio Outis]
Besides the contribution
given by the orchestra and the chorus of La Scala to the musical
execution, an even bigger one was given by best known musical
personalities such as Aldo Bennici, Claudio Iacomucci and Michele
Lomuto who, clown-dressed on the stage (unrecognizable, but praise
worthy for their bizarre virtuosity) lent themselves to play
respectively a small violin, the accordion and the trombone.
La
Nazione 10/3/96 Leonardo
Pinzauti
Salzburg
Mozarteum - Musikalishe Akademie
[...] symptomatish mit Frack und
weißen Turnsshuhen bekleidet hielt der Posaunist Michele Lomuto
Einzug, um meisterhaft mit den Möglichkeiten der
instrumentell-vokalen Clownerie zu zeigen, was es mit den Grenzen
zwischen E-Musik und U-musik auf sich hat. Es gibt wohl kaum ein
vergnüglicheres, skurrileres Stück für Posaune als
diese Sequenza V.
Salzburger Volkszeitung 24/3/93 Ernst P.
Strobl
Salzburg Mozarteum - Musikalishe Akademie
Appearing on
the stage dressed in tail-coat and white snares, Michele Lomuto
showed extraordinary vocal-instrumental and clown skills, shifting
continuously from e-music to u-music. This Sequenza V was the
funniest piece for trombone I've ever seen.
Salzburger
Volkszeitung 3/24/93
Ernst P. Strobl
Strasbourg
Festival Musica
Le tromboniste Michele Lomuto fut l'un des
intervenants les plus remarqués de ce randez-vous nocturne de
Musica. Sur des partitions de Franco Donatoni, on a pu apprécier
sa maitrise dans un délicat exercice de soliste («Scaglie»)
tout comme au sein du big band, pour la création de «Sweet
Basil».
Derniers Nouvelles d'Alsace 28/9/93
Fr. B.
Montréal
Pollack Hall de l'Université McGill
Grand virtuose et doué
d'un séel talent d'acteur, Michele Lomuto ouvrait le
programme.
La presse, Montréal 17/10/86
Claude Gingras
Bologna Festival Eco & Narciso
It
happened to Michele Lomuto to explore the field of gesture, one of
the busiest and most prolific ones in contemporary soloist
repertoire. The concert opened up with Intermedi e Canzoni, written
by Azio Corghi for the stage and openly interacting with it. The
interpreter, in fact, gives up his usual role to adjust himself to
Ruzante's ancient comic atmosphere and the performance shifts from
vaguely sixteenth century quotations to dance signs and open recalls
to the vocality of the Padoan playwright's characters.
The
performance confirms, once again, contemporary music's vocation to
show, and the soloist is requested not just to have instrumental
ability, but a strong scenic presence, that in Lomuto is associated
to very funny clown-skills.
la Repubblica 10/20/88
Fabrizio Festa
Roma Accademia di S. Cecilia
At the end
of the piece Berio, the Orchestra of Santa Cecilia, the pianist Bruno
Canino, the children choir coming from London, the trombonist Michele
Lomuto and the clarinettist Terry Tunnicliff. All heedful and
attentive interpreters of Ofanim where persistently
applauded.
Avanti 5/30/89
Ennio Melchiorre
Roma Accademia di S. Cecilia
And then
Ofanim [...] The impact was soon captivating, thanks to the
exceptional bravura of the trombonist, Michele Lomuto, and the
clarinettist, Terry Tunnicliff.
la Repubblica
5/30/89 Dino
Villatico
Roma Aula Magna Università La
Sapienza
[Concert dedicated to Virgilio Mortari]
Dating back to
the last year, «Incontri» - a fantasy for trombone and
orchestra, dedicated to Michele Lomuto - was extraordinarily
performed by him by heart, as a sequence of sounds magically
interlaced by the author. It was almost a melody of thanks to the
timbre and the liveliness of the strings.
l'Unità
4/6/89 Erasmo
Valente
Roma Teatro Ghione
Is performed Veni Creator,
an opera for six instruments which Marcello Panni has been working on
since 1968 [...]. Verzari's trumpet is good, but Lomuto's trombone is
really striking. He is an exceptionally gifted actor-performer.
la
Repubblica 5/31/89
Landa Ketoff
Bari Orchestra dell'Amministrazione
Provinciale
Landmark for many contemporary composer, Lomuto has
got a really strong personality, he is extraordinarily communicative
and controls completely his instrument.
Milhaud [Concertino
d'hiver] and Virgilio Mortari (that was celebrated with the other
performers at the end of the piece) couldn't have found a better
performer.
It was a success and the audience encored Lomuto many
times.
Gazzetta del Mezzogiorno 4/23/89
Nicola Sbisà
New York
92d Street Y
The Y offered the Sequenzas as a 70th-birthday
celebration for the Italian composer, who was present. The musicians
for these virtuoso pieces were American, Australian, Italian and
French. [...] Especially good on Wednesday were Claude Delangle,
Luisa Castellani, Pascal Gallois, Alice Giles, David Krakauer,
Michele Lomuto and the evening's closer, Gabriele Cassone.
The
New York Times 11/18/95
Bernard Holland
Torino Settembre Musica
[duo Lomuto
Mondelci]
Reunited at Piccolo Regio to offer a really interesting
performance to audience of Settembre Musica, Michele Lomuto and
Federico Mondelci, that Enzo Restagno defined «outstanding», amazed
the audience in Turin on all fronts [...] We all where struck by the
burst of their personalities, that imposes itself over the text.
[...] Audience's attention was constantly attracted using uncommon,
arduous, almost histrionic techniques.
La Stampa 9/20/97
Aurora Blardone
Recension of the CD Arie condizionate
Riccardo Piacentini, Tiziana Scandaletti, Michele Lomuto: three sacred monsters in contemporary music. Don't you believe it? Insert the CD Arie condizionate ["Conditioning Air"] in the player, provide yourselves with the Sandro Cappelletto's libretto, sit down and listen to... you will be able to get up only at the end of the CD. [...] performers and music capable to ravish you. [...] Extraordinary the voice of Tiziana Scandaletti [...] The fantasy and cleverness of the composer Piacentini is extraordinary. Tiziana Scandaletti's voice is not only singing but drama, acting, colour and the extraordinary Michele Lomuto's trombon dominates through his great powerful expression.
Musica e Scuola December 2001: XXth Century and Contemporary Music Michele Gioiosa
