COMMENTS
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Of the others, most substantial and impressive were two very contrasting works for solo violin, Vanneschi’s Melopea ii and Athinodorou’s Aosmon. The former exploited extended techniques convincingly and the latter, a near half-hour work in a number of movements, did so too in a context which recalled the glories of nineteenth century violin playing, with gorgeous tone and avoidance of deliberate ‘ugliness’; if Dizdari had been wanting to sell her fine Cerruti (Cremona) instrument, Aosmon would have demonstrated its potential to perfection. Peter Grahame Woolf for the Notting Hill MayFest Musical Pointers May 2009 .
To follow, the youngest amongst the voices of the authors presented was Christina Athinodorou, who looks back at her tradition to trace, through music, the path of her homeland, Cyprus, transporting the audience to a mediterranean aura, with an exotic taste. Antonella Zambelloni on Aktaí Le stridenti dissonanze, della musica del MITO NuovaSesto Periodico, 3/10/2008
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Quatre Silences, composed and conducted by Christina Athinodorou was a beautiful, solidly sounding package, comfortably yet intensively interpreted with a strong percussion ending by Hannu Leppänen. Athinodorou’s treatment of silence with musical language is fine and logical. Janne Mäkinen, Keskisuomalainen 7th July 2008 for the Viitasaari Time of Music Festival, Finland. .
The audience was stunned by the rich and almost wild sonorities of Simul, Lumini, Sombri by Christina Athinodorou. Elena Letvatova, Kultura 18th October 2006, Bratislava . Festival Forfest 2006.
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The longest piece of the entire concert was Overture for the Red Rain by Cypriot composer and conductor Christina Athinodorou which she conducted herself. The heavily-rhythmic work was well programmed and made good use of the strings with a fine cello passage in the centre of the piece. John Manning Herts Advertiser, U.K. 20/9/2007 . |
