Smaro Gregoriadou

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Reviews - Press

California concert tour November 2016

Concert review by the American composer and journalist Mark Abel 


El Aleph - Critical Praise


Australia tour - Critical Praise, press releases and interviews  

In April 2014, Greek guitar virtuoso Smaro Gregoriadou introduced her unique interpretation of the Baroque to Tasmania, Australia. A pioneer of Baroque revision, Gregoriadou presents her technical and sonic interventions in stringing, trebling and tuning, which she calls ‘reinventing guitar’.






Reinventing guitar, Vol. 2 - Critical praise


Reinventing guitar! - Critical praise


“Reinventing Guitar II gives to the listener the chance to appreciate the full spectrum of Gregoriadou’s capabilities: her powerful musical point of view, her undeniable sensitivity, the gravitas of her interpretations, and her rare musical ethos, virtues that are supported by a secure technique and an enviable finger mastery. She holds the secrets of the interpretation of baroque music, she is particularly attuned to the style of that era, and she manages through a crystal and refined articulation to highlight both the musical elements of a glorious era and the mighty spirit of the three great composers."

Konstantine-Patrikios Karambelas-Sgourdas, December 2012

"Reinventing Guitar, Vol. 2 is a tremendous achievement that contains perhaps some of the most authentic sounding interpretations ever recorded on the guitar. These instruments combined with Gregoriadou’s incredibly fluent technique, refined tone, and her deep understanding of the Baroque style really delivers the proof that the guitar can handle this repertoire just as well as the keyboard instruments for which it was originally composed. She performs with such a precision and her fast tempo puts you on edge, but she is in absolute control bringing each work to its full realization."

Brad Conroy, Guitar International Magazine, July 2012


"It's Gregoriadou's amazing musicianship that brings these guitars to life. 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. 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... Highly recommended for all guitar enthusiasts and baroque music fans alike..." Jean-Yves Duperron, Classical Music Sentinel, August 2012


"The richness of tone is stunning. A selection of Scarlatti’s tiny sonatas sparkle on the double-course instrument, and a Bach Preludio, Fuga e Allegro had me wondering just how Gregoriadou manages to keep so many contrapuntal lines spinning at once. Bach’s E Minor Toccata is astonishing, the fugue’s unravelling one of the most compelling things I’ve heard in ages." Graham Rickson, The Arts Desk, September 2012


"Her playing is superb. Her technique is flawless, no matter what demands she encounters. Her rhythm is fluid and rock-solid, and her ornaments (cross-string fingerings) burst like fireworks. Her tone? Well, that’s what this is all about." Kenneth Keaton, American Record Guide, October 2012


"Performances with surprising vitality, technical mastery, stylistic relevance. The Scarlatti Sonatas are distinct for a nice "airiness" of phrasing and a relevant dynamic range, while the complex Bach compositions are interpreted with a relentless tempo conduct and with an uncommon clarity in the interpretation of the most intricate contrapuntal passages (just listen to the present two Fugues, BWV 998 and the final section of the Toccata BWV 914). An enviable fluency and variety of dynamic shadings and agogic solutions." Claudio Bolzan, Musica, October 2012


"Gregoriadou's “reinventions” are leaving the standard classical guitar and modern tuning behind, at least for the time being. I have no doubt that Gregoriadou has a most musical mind . . . that is to say, it melds intellect with emotion and sensitivity. In her own way, Gregoriadou evokes musicians such as Vladimir Horowitz, Glenn Gould, and Wanda Landowska in her willingness—her need, really—to find a new way to express herself and to reanimate the music, without letting innovation become an end in itself." Raymond Tuttle, Fanfare, November/December issue 2012


...Gregoriadou ia a virtuoso guitarist, scholar, and she is a stand out who will no doubt excite audiences, while carving her own niche within the classical guitar world. Incredibly fluent technique, refined tone, deep understanding of the Baroque style...



...a world class guitarist and musician!

July 2010. Mr Jean-Yves Duperron, Classical Music Sentinel of Canada


...mastery of the executive technique and expressive sensibility are among her most obvious qualities...

Sept. 2010. Mr Claudio Bolzan, MUSICA magazine of Italy


SMARO GREGORIADOU: The incessant birth of the classical.

The musical research lives and breathes, having as receivers not the frowning specialists or the dust of the libraries, but the ears and hearts of the listeners. Smaro Gregoriadou belongs to that special sort of artists of the Renaissance era, when an artist’s personality was structured on studies, ideas, research, but also on their high performance on many and different arts. In our days, when everybody embraces specialization and unfortunately art suffocates in a sterile partiality, such a many-sided personality consists of a rarity.

January 2010. Mrs Liana Malandrenioti, music critic, DIFONO magazine 


Smaro Gregoriadou is a leading multifarious artistic personality. The corpus of her compositions is extremely important and consists of masterly works that ensure her position among the most important artists of our country. 

May 2009. Mr T. Tamvakos, music critic, JAZZ & JAZZ magazine


Smaro is a special talent, able to balance her great virtuosity with her rich sentiment. She is authentic, clear. Clear!

February 2009. Mrs Amalia Ramirez, director of famous Ramirez lutherie house, Madrid


…an outstanding young musician who combines dexterity and intelligence with consciousness of purpose, genuine commitment and a strong feeling of co-operation.

2/11/1994. Prof. G. Hadjinikos, conductor- concert pianist.




…an excellent, sensitive, inspired and dedicated soloist of the classical guitar. She possesses qualities which characterise great interpreters. The guitar will benefit a lot from her serious and dedicated work and presence. 1/10/1994. Prof. Y. Kertsopoulos, concert guitarist-luthier-founder guitar’s “mathematic model.”


…with her talent and great sensitiveness she will reach the highest point in the world of music. November 1990. Prof. J. Castro- Balbi, concert guitarist.


…I have heard Smaro in concert, where she successfully projected her musicality and personality. She is a very able and dedicated guitarist 29/11/1996. Prof. C. Bonell, concert guitarist.


… One of the most difficult compositions in guitar’s repertory, Concierto de Aranjuez for guitar and Orchestra, was interpreted by guitar soloist Smaro Gregoriadou with accuracy, precision and total coordination… 3/1/1995. “PROINA NEA” newspaper of Greece, Ioannina.

…So special her sound, so very rarely achieved by guitarists! March 1996. “ELEFTHEROTYPIA” newspaper -“EPSILON” review of Greece, Athens.

…The achievements of this superb musician on the technical and sound quality fields, have undoubtedly opened new perspectives of interpretation in the repertory of the instrument! February 1996.“APOGUEUMATINI “newspaper of Greece, Athens.

…Smaro Gregoriadou left audience speechless with her faultless technique and musicality… 20/12/2001. “APOGUEUMATINI” newspaper of Greece, Athens.

…Smaro Gregoriadou touched in an almost “magical” way these new strings by Kertsopoulos and spread their light in Greek and international music festivals… 9/7/1997. “ENIMEROSI” newspaper of Greece, Corfu.

...Her talent created an enthusiastic response from the audience that applauded the creativity of this young artist who has a lot to promise in the field of classical guitar…One of the most interesting concerts of Dimitria 2001… 20/12/2001. “ELEYTHEROS” newspaper of Greece, Thessalonica.

...Guitar sounds in absolute expressiveness…A remarkable recital, authenticity in style… April 2001. “ELEYTHEROS TYPOS” newspaper of Greece, Athens.