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Alirio Diaz: “M. Gasbarroni, is born to fulfill delicate artistic missions”. 3/9/1971
____________

(A-Z)

Brazil

LA PAZ THEATRE, Belem
“ Massimo Gasbarroni is a name to be kept in mind. His performance at the La Paz Theatre strongly confirmed that which international critics have already acclaimed, that he is one of the greatest guitarists of our times. The version given us of the 5 Preludes by Villa–Lobos with magical sound appeared unbeatable to us, and no less was Arrulladora by Castelnuovo Tedesco that we had already heard in an earlier recording by Segovia. With Mallorca of Albeniz he astonished the audience, leaving them an unforgettable impression.”
    W.E. Enrique, “O LIBERAL” - Belem, (Brazil) September, 13 1981

“GASBARRONI DIVULGADOR DE VILLA-LOBOS”
              “DIARIO POPULAR, Sao Paulo  August  28, 1981

“ESPECIALISTA EM VILLA-LOBOS”
              “GAZETA DO POVO”, Curitiba  August 18, 1982

UNIVERSITY, Assis
“ Massimo Gasbarroni ‘s concert can be summarized with two words: refined and unique. Refined, because the feeling of beauty created by the maestro was breathtaking. Unique, because Assis certainly had never hosted a guitarist of this class before and it is also difficult to say when such an occasion will arise again.”
"A Gasbarroni cabe o mérito de revelar Villa-Lobo aos Brasileiros“.
         Benito Antunes, “VOZ DA TERRA” - Assis, Brazil  August 19, 1981


China
HAIDIAN THEATRE, Peking
“ Massimo Gasbarroni’s recital caught the fancy of both foreign and Chinese listeners. The slender musician seemed to have a magic power of lifting one’s soul above one’s body… The Elegia’s “wave” melody sent a shivering sensation along one’s backbone. “It is one of the most sensitive and exquisite sorts of music I have listened to. He plays with such feeling, “remarked Gu Bi, a musician sitting among the audience”.
                Xu Xiangorum, “BEIJING WEEKEND” - Peking (China) September 18, 1992


Denmark
“His performance clearly demonstrated his mastery of guitar playing, up to the point of perfection.”
               F. Weiss, “POLITIKEN” – Copenhagen  March 3, 1974


Egypt and Algerie
« Massimo Gasbarroni, guitariste hors concours, a littéralement ravi le publique, récital exceptionnel par sa perfection technique et par l’interprétation d’une rare sensibilité. Ce récital à été une démonstration incomparable de virtuosité qui a révélé pour la seconde fois, un "Big" de la musique. Entre ses mains la guitare, non plus seulement instrument, est devenue une voix vivante ; un chant capable de faire vibrer à l’ unisson l’auditoire et de vibre en une inondation de résonances poétique. Exécution superbe d’un artiste extrêmement doué, et de préparation impeccable...En cette variété d’airs et de styles a émergé la versatilité d’une technique très habile, lumineuse, riche en nuances et couleurs. Une sensibilité sensorielle jailli, raffinée ; chargé de suggestions pourtant filtrée et purifiée par un gout très fin, maître des émotions. Le publique, très attentionné, et comme suspendu dans une atmosphère raréfiée, a eu l’impression d’être devant un artiste possédé par l’ange de la musique, qui fait de cet élève de Segovia e Diaz un des plus grands guitaristes de notre temps          
                Giselle Boulad,  "LE JOURNAL D’EGYPTE" - Cairo  June 3, 1977


Emirates
“CLASSICAL GUITARIST ENTHRALS AUDIENCE”
“celebrated classical guitarist Massimo Gasbarroni gave an excellent recital. What delighted the Abu Dhabi audience particularly was the rich tone of the guitar, and Gasbarroni’s masterly handling of it. Gasbarroni played with concentration and gave the pieces a particular profundity. The Study 12 in particular was a virtuoso performance in which he displayed his skill in playing as well as in interpreting”.
               Francis Matthew, “KHALEJ TIMES”, Abu Dhabi - June 1992

“KHALEEJ TIMES”, “SKILL PERFORMANCE BY ITALIAN MAESTRO”
“The three Preludes by Villa-Lobos, with which Mr. Gasbarroni startede the concert ere an exhibition of skill, sensitivity and finesse. In the second part, Castelnuovo-Tedesco and Albeniz, Gasbarroni captivated the audience by the breath-taking delicacy of his nuances, as required in the interpretations of these works. The Mallorca and Leyenda of Albeniz, best known to a large number of the audience, made an emotional climax which was warmly applauded.
Mr. Gasbarroni was recalled five times for more of his exquisite performances, during which he satisfied the unannounced wishes and anticipations of guitar-music lovers.”
              “KHALEJ TIMES”, Abu Dhabi  May 9, 1986

“ITALIAN MASSIMO GASBARRONI DEMONSTRATED HIS MASTERY OF THE GUITAR:”
“As Gasbarroni proved classical guitar music explores a whole world of harmony, rhytm and counterpoint, and the most challenging of it can rival orchestral compositions in intricacy. The Italian guitarist gave a fine account of the works displaying a sureness of touch and firmness of grip that demonstrated his grasp of the composition’s subtleties. The Jan Kaspar Mertz’s Elegia and Niccolò Paganini Romanza were rendered with assured elegance.. He was even more magnificent on Fernando Sor’s Variations op. 28. Gasbarroni’s playing here bordered of the lyrical and he executed every involved section with a facility that could have come only through intense study and practice. And rounding off the first half of the programme with three preludes by Heitor Villa-Lobos, Gasbarroni proved that the unanimous description of him as one of the most intriguing interpreters of the Brazilian composer’s music is not unfounded. Indeed, on these pieces he truly came into his own, playing with a fire and fluidity that endorsed his mastery of the classical guitar.”
              R.S. Murthy, “NEW STRAITS TIMES”, Kuala Lumpur  June 27, 1992


France
CONSERVATOIRE, Nantes
« The Nantes audience will not easily forget this memorable concert. »
               "PRESSE OCEAN", Nantes  December 18, 1986

« LA GUITARE INSPIRE’ DE MASSIMO GASBARONI »
                "DERNIERES NOUVELLES D’ALSACE", Strasbourg January 19, 1985

CULTURAL CENTRE OF QUEULEU, METZ
The guitar recital of Massimo Gasbarroni surely was one of the most relevant event in the season of the Cultural Centre De Queuleu and the audience will not easily forget this talented artist and his rich program »
                 "LE REPUBLICAIN LORRAIN", Metz  December 23, 1986

« COMME LA MER ROULE SES VAGUES »
« Wha about this concert ? Words used can only talk unjustly about it, being too beutiful, it belongs to eternity, and since it expresses the unexplainable , the thing to do is to listen to it ».
                 C. Geoffroy., LES DEPECHES, Dijon

“THE GREAT ART”
With Gasbarroni the guitar releases its purest and deepest tones, through an accurate interpretation, solemn and without burdens. With Tiento of Ohana once again Gasbarroni overwhelms us with his clear and rigorous, interpretation; and one easily discovers that the virtuosity under his fingers isn’t by any means used to produce simple effects. With the Popular Brazilian Suite, full of ironic beauty and poetry, the Preludes and Studies of Villa-Lobos, Gasbarroni is at ease like a fish in water, making use of an immeasurable technique and superb musicality, showing his pleasure in playing the semi chrome at an infernal pace.
With Massimo Gasbarroni one lives the “charme” from the beginning to the end of the program. Gasbarroni is a magician.”
                J. Michelet “LES DEPECHES” - Dijon (France)  December 6, 1986

“Gasbarroni gave the impressive sensation that every moment was surging from his magic guitar the sound of different instruments”
                “ALSACE”, Mulhouse  March 23, 1977

“Deux heures bien charmantes et de très bon gout” –
               Jean Abel, “LE PROVENCALE¨¨, Marseille April 5,  1973


Georgia
OPERA, Philharmonic, Tbilisi
-“The two concerts by Massimo Gasbarroni have represented a relevant event to the concert season of the Tbilisi Philharmonic and will remain impressed in the minds of all guitar fans.”
               “VECERNI TBILISI” – Tbilisi (Georgia)  March 21, 1980


Germany and Österreich
MOZART SOCIETY, Augsburg
“Massimo Gasbarroni is almost unique in his art as virtuoso.
His technique is extraordinary indeed, and audience was deeply impressed by the artist’s talent and the incredible accuracy of sound”
              “AUGSBURGER ALLGEMEINE” - Augsburg

“A true virtuoso of the guitar. He reveals how much gives himself up to meditation and transmits its effect to the spectator . Even more astonishing is how Gasbarroni has succeded in playing again the Fugue in G minor by Bach in such an intense way , both in its performance and in its thematic development.
The numerous friends of the guitar have here truly found what they were looking for”.
              G., “SUDDEUTSCHE ZEITUNG” – Munich May  6, 1967

MUSIKHALLE, Amburg – “GUITAR RECITAL FULL OF DELICATE POETRY”
“He also qualifies himself as a pupil of SEGOVIA for his virtuosity”
              Z.R., “HAMBURGER ABENDBLATT”- Hamburg March 4, 1975

„GROSSES INTERESSE AN GITARRENABEND“
„Überraschend gross war das Interesse an dem Gitarrenabend. Der Kulturverein Helmstedt stellte einer den bedeutendsten Gitarrensolisten der Gegenwart vor. Neben der grossen Technikbherrschung, so meinte der Künstler nach dem Konzert, sei vor allem die enorme Konzentration, die bei jedem Konzert erforderlich ist, hervorzuheben.
               Er., "BRAUNSCHWEIGER ZEITUNG", Helmstedt (Germ.) Juanuary 1, 1987

PASSAU FESTIVAL
“With Villa-Lobos Gasbarroni demonstrated to us that he is one of the best”
„ Alle möglichen Griff-Zupf-und Schlagtecniken fondert Heitor Villa-Lobos in seiner Studie Nr 11, mit der Gasbarroni bekundete, er ist ener der Besten. Regino Sainz de la Maza „Petenera“, „Zapateado“ und „Fünf venezolanische Stücke“ von Vicente Emilio Sojo beschlossen Beifall, folgen sollten“.
               Hermann Schmidt, "PASSAUER NEUE PRESSE" – Munich  July 16, 1976

Israel
GREAT MUSEUM HALL M. RECANATI, Tel-Aviv
"Gasbarroni‘ s playing was extraordinary. A guitarist with a complete mastery of the instrument."
                "MAARIV" - Tel-Aviv October 1976

“The reknown italian classical guitarist Massimo Gasbarroni is appearing for the third time in Israel and gave recently a recital at the Tel-Aviv Museum Recanati. This time he also captivated his audience with his absolute control on the guitar and even flow of his playing, his sensitive understanding of each style that he plays. He gave his audience a superb feeling of the baroque period’s elegance.
A performance so beautiful as to touch our feelings.”
               Yariv Heazrachi, “YEDI’OT HACHRONOT” - Tel-Aviv 13 October 1976

Italy
“..he played with a perfect style”.
               “IL MATTINO”, Naples

“A well-balanced guitarist; sensitive in his interpretation, with an extraordinary command of resonances and timbre effects”
                G.P “L’OSSERVATORE ROMANO”, Roma  April 1, 1962

“Gasbarroni is one of the elite of the few authentic concert artists who contribute most to revaluating the classical guitar.
Gasbarroni is an high-level concert artist thanks to his skill and authentic musical preparation. He is a refined concert artist, sure of his ability and expression”.
               “IL ROMA”, Salerno  September 14, 1970

“APPLAUSI A GASBARRONI SOLISTA MONDIALE DELLE SEI CORDE”
                Dino Foresio, “QUOTIDIANO, Taranto  June 13, 1984

“What Gasbarroni succeeds in doing with the six strings of the guitar is truly something extraordinary”.
                “L’UNIONE SARDA”, Cagliari  March 17, 1972

“He made an impression with his technique and mature interpretation sustained by a delicate sensitivity”.
                “IL MESSAGGERO”, Roma

“MASSIMO GASBARRONI REVALUATES THE GUITAR”
                 "CORRIERE DEL GIORNO", Taranto  January 30, 1968:

“GREAT CONCERT IN THE MUNICIPAL HALL” - “THE GUITAR OF GASBARRONI TOUCHED THE AUDIENCE”
“Gasbarroni è apparso subito uno di quegli artisti che trasformano un concerto in un rito per la capacità di avvincere l’uditorio, instaurando un clima di alte emozioni: ad una tecnica dallo smalto nitidissimo egli aggiunge infati fraseggio brillante, libertà e varietà di tocco e compensione profonda dei presupposti etici e cultrali dei brani che esegue”.
                  Santoro “LA NAZIONE”, Florence  January 17, 1981

“Posizione compostissima, tecnica abile, leggera, ricca di sfumature e gamme di colore, veloci e pronte le dita sul tono giusto della tastiera, caldo e signorile il gusto dell’interprete”.
                  R. Bonvicini,”IL TEMPO”, Roma  July 12, 1975.

“TEATRO DANNUNZIO”, Latina
“VIRTUOSISMI E PASSIONE:OGGI IN SCENA GASBARRRONI”
“Massimo Gasbarroni, capace di una straordinaria abilità, è un virtuoso, un artista appassionato, in grado di affrontare anche le pagine musicali più complesse per renderle alla perfezione, con uno stile che diventa unicamente suo”.
                Giuseppe Gazzeloni, “LATINA OGGI“  June 4, 2004

“REALTA’ SOVIETICA”, Roma: Inteview - March-April 1984
“..A Rio de Janeiro la sua interpretazione di Villa Lobos sbalordisce - è un po' come se un tedesco venisse ad eseguire Verdi in Italia - e subito gli viene offerto un seminario di chitarra all'Università di Rio. Penderecki in persona lo invita a tenere dei corsi all'Accademia di Musica di Cracovia…



( Ex) Jugoslavia
“The program, requiring a great virtuoso artist, was brilliantly performed.
The select audience enjoyed the beautiful sound the musician could obtain from his precious instrument”.
               M. Logar, “BORBA“, Belgrade  April , 1972

Lebanon
AMERICAN UNIVERSITY 1980 - Beirut
“ Press notices that preceded Massimo Gasbarroni’s arrival in Beirut were so full of such phrases as “ true virtuoso”, ”sensitive interpreter”, ”complete mastery”, “brilliant technique”, “one of the finest” and “superb artist” that a worldly-wise Beirut public was inclined to suspect this was going a bit far to describe a player of a relatively minor instrument, the classical guitar. After Gasbarroni‘s recital in the Assembly Hall however, the audience was convinced that words are all inadequate. The satisfaction that Gasbarroni gives his hearers is beyond the power of speech to convey”.
   George Miller, American musicologist, “MONDAY MORNING”  November 24, 1980

AMERICAN UNIVERSITY 1981- Beirut
“In his recital at the AUB Assembly Hall Gasbarroni confirmed the impression of those who had heard him before that he is one of the most outstanding contemporary guitarists and drew from those who heard him for the first time such comments as “ This is the only classical guitar recital I’ve ever enjoyed .
        The secret of Gasbarroni’s attraction is not his technical brilliance, the breath of his tonal range, and his grasp of the harmonic resources of his instrument alone; it is above all his attitude towards his talent and the music he plays. Like Segovia, who was one of his teachers, Gasbarroni does not force himself on his listeners by dazzling virtuoso display. Instead, he quietly invites us to share with him the delight he has found in exploring the magic lands of the composers’  imaginations.
Such an approach is as rare as it is irresistible, and it makes Massimo Gasbarroni appearance in Lebanon  one of the most eagerly-awaited events of the season.
”.
           George Miller, American musicologist, “MONDAY MORNING”  Dec. 14, 1981

USEK, Beirut -“MASSIMO GASBARRONI AT THE USEK”: “A MEMORABLE RECITAL”- “A MARVELLOUS GUITARIST”
“The audience will cherish an unforgettable remembrance of Gasbarroni’s concert, so bewitched has this artist been. The auditorium gave a long standing ovation to this wonderful artist. Who allowed them to spend two hours in a dream, where one is transported into a world where the symphony of sound, due to one of the most delicate touches and to an out of the ordinary virtuosity, was something truly unique.”
           “REVUE DU LIBAN” – Beirut  May 7, 1988

« MASSIMO GASBARRONI OU L’ENCHANTEMENT ABSOLU »
« La guitare de Massimo Gasbarroni, l’un des meilleurs guitarists contemporains, vibrait de poésie, d’intensité et d’amour sous les doigts longs et affilés de ce virtuose venu du pays de Dante. Grand de taille, une barbiche noire soulignant ses traits d’artiste, le maestro s’est imposé dès son entrée sur la scene. Un langage tacite, une complicité profonde se sont installés entre lui et sa guitare. A eux deux, ils ont formé une entité unique, splendide, difficile à rompre. Et pourtant, que de réceptivité de la part du public ! Chaque note, chaque frémissement, chaque chouchotement, chaque cri arraché à ce fragile instrument qu’est la guitare, a fait son chemin caressant non seulement les oreilles des mélomanes Libanais, mais aussi et sourtout s’inserant en eux pour ne plus ressortir ».
           Karla Chemaly, "LE REVEIL", Beirut  April 16, 1988

LE REVEIL : « MASSIMO GASBARRONI : LA GUITARE LUI EST SCEPTRE ET COURONNE »
« Un grand ami du Liban : le Maestro Massimo Gasbarroni, considéré par la critique internationale comme l’un des meilleurs guitaristes classiques contemporains. Les mélomanes libanais étaient tout simplement envoûtais par la guitare magique de ce grand artiste de grande envergure. »
            "LE REVEIL", Beirut


Malesia
“As Gasbarroni proved with his varied programme, classical guitar music explores a whole world of harmony, rhythm and counterpoint, and the most challenging of it can rival orchestral compositions in intricacy. With the preludes by Villa-Lobos, Gasbarroni proved that the unanimous description of him as one of the most intriguing interpreters of the Brazilian composer’s music is not unfounded”.
           “NEW STRAITS TIMES”, Kuala Lumpur


Norway
MUNCH MUSEUM, Oslo: “STILISH GUITARIST”-
"A numerous and enthusiastic public audience applauded the superb guitarist after the splendid and tasteful concert. Gasbarroni treats his instrument with mastery and, without a doubt, must belong to the world's elite of guitar players, so stylish and fluid was his interpretation of a non-too-easy repertoire, unusually interesting. The III suite by Bach was iterpreted superbly…Gasbarroni presented one piece after another with complete mastery, always simple and elegant in form and expression, but with a personal touch as regard rhythm and accent. Indeed, in this respect, the Tarantella by Castelnuovo Tedesco was a triumph! We must hear more of Massimo Gasbarroni "
              "VERDENS GANG" – Oslo 5 March 1974

“A MASTER OF THE GUITAR AT MUNCH MUSEUM”
              “AFTENPOSTEN” – Oslo  March 5 1974


Oman
„As usual with great artists, a brand new concert started with the „encores“. Gasbarroni was recalled five times for more exquisite performances. His selection of encores was a stroke of genial showmanship, which was accentuated by his modest and friendly attitude towards both music and audience alike”
              AKHBAR OMAN – Oman May 13, 1986


Poland
SUPERIOR ACADEMY OF MUSIC, Warsaw
“He reminded us of how the guitar can sound in the hand of an admirable artist”.
             Janusz Ekiert, “EXPRESS WIECZORNY” – Warsaw May 9, 1972

FESTIVAL “Music in the Old Cracow” (repeated performance)
“THIS MARVELOUS ITALIAN GUITARIST”
“ Gasbarroni is an exceptional soloist who places his technical perfection at the service of the musical idea and captures the audience by creating an affectionate feeling that stems from an ethereal happiness to pathos.”
             Olgierd Jedrzejczyk, “GAZETA KRAKOWSKA” - Cracow  August 18, 1987

OLD SYNAGOGUE, Cracow
“A GUITAR IN THE SYNAGOGUE”
“Massimo Gasbarroni is a true artist. In his hands the guitar becames a little orchestra. From his instrument surges a sound particularly beautiful. Also his program is unusually interesting. With the spanish and brazilian music the guitar, specially bound to Iberian music, in the hands of the Italian artist fascinated us and brought us the fragrance of this world”.
               Zbignew Lampart, “GAZETA KRAKOWSKA” – Cracow  August 27, 1984

“THE SIX STRINGS”
“Gasbarroni has an excellent technique, but he doesn’t display his instrumental virtuosity nor does he underlines it. His playing is the result of his degree of concentration and inner discipline. He is a master in creating the most various versions of feelings, particularly the atmosphere of nostalgia resounding with exotic tones, as in Mallorca by Albeniz or in the 5 Preludes by the Brazilian Villa-Lobos, to whom Gasbarroni dedicated the whole second part of the recital. The guitar under Gasbarroni’s fingers has wholly expressed its natural richness of colours.
In a few words, an unforgettable evening”.
               Adam Walacinski, ”DZIENNIK POLSKI” - Cracow  August 27, 1984

"A GUITAR IN THE SYNAGOGUE"
”...the historic Museum of the ancient Synagogue echoed with voices of ancient splendour. Gasbarroni showed all of us just what it means to play the guitar, surprising everyone not only by the brilliance of his virtuosity but also by the enrapturing delicacy of sound and the crystal transparency of tones in passages of extremely difficult execution”.. Despite the late hour I left the Synagogue, I came away more than sure that I could have easily stayed on for many more hours to hear the magical guitar of the Italian virtuoso...”)
               Leszek Polony, “GAZETA KRAKOWSKA” - Cracow

“Massimo Gasbarroni is a true artist”
               "DZIENNIK POLSKI" - Cracow


Portugal
GULBENKIAN FONDATION, Lisbon
“Massimo Gasbarroni is a true artist in the skill of this instrument. In all the styles, old, modern and contemporary, of Gasbarroni’s art is really impressive”
             José Blanc, “DIARIO DE NOTICIAS” – Lisbon  December 10, 1977


Rumania
“ ..a demonstration of real virtuosity. An artist who lives every sound by making it vibrate in an inundation of poetical reverberation, a musician who enunciates his phrases without facile affectations,but in a well-balanced way, full of piercing sentimental feeling.Gasbarroni has shown himself to be one of the finest performers of this instrument”.
             J.V. Pandelescu, “CONTEPORANUL” – Bucharest February 2, 1973


Russia
TCHAIKOVSKI HALL, Philharmonic, Moscow -
"An earnest musician who clings to a rigorous style which he retains while performing classical and contemporary music. The listener is astonished by the exceptional beauty of his sound and by his masterful virtuosity. A feeling of calm, intimate emotion and precise rhythm are distinctive traits of this musician. His grace in handling the instrument and his talent as a guitarist are astonishing: during his concert one never stops to be amazed that the musician's hands appear to be a natural continuation of the instrument itself, undeniably linked to it.
His performances have met tremendous success."
             Vladimir Slavski, "SOVIETSKAIA KULTURA" – Moscow  August 22, 1968

Moscow Guitar Society 1963:
”Moscow guitarists have already heard many foreign virtuoso of this instrument before, but they were simply astonished and impressed by his mastery, by the highly technical skill and his delicate sensitivity. With Gasbarroni Italy , the homeland of illustrious musicians, has found a great Interpreter.””
             The Guitarists of the Moscow Guitar Society


Sweden
“THE ART OF COLOURING : “A MASTER OF THIS SUBTLE ART OF LENDING VARIETY AND RANGE TO INSTRUMENT SOUND: MASSIMO GASBARRONI”
What is possible to obtain from a guitar is something of absolutely incredible. He is a lyrical player who, with careful forethought and his feather-light touch creates music. Of course he also possesses a brilliant technique; he is a wonderful musician, this man who sits almost without a movement with his bearded profile”.
             C. Gunnar Ahlen, “SVENSKA DAGBLADET”, Stockholm  March 8, 1974


Thailand
“ He intrigues listeners with his soft yet deeply passionate touch. He makes them lean forward, all senses sharply alerted to catch his almos inaudible passages of sheer fragility and transparency. From its “Mancini & Locci” guitar he could produce a tonal variety that ranged from a strong, round and full-bodied low register to mellow, expressive mid-range, to brilliant though not blatant high notes that carry clearly across the room.
Renowned for his particular affinity with the music of Villa-Lobos, Gasbarroni justified all the encomiums with playing of utmost sensitivity, successfully revealing the inner meaning of the Brazilian composer’s works. Villa-Lobos’ lyricism is almost always veiled in modernistic phrases and somewhat apologetic in flavour. It is up to the performer to bring out the loveliness into the open….The Italian guitarist was suitable dramatic in the second prelude, with its pregnant pauses and single-note harmonics that give an ethereal effect.”
                Panya Panichsrisuk “THE NATION”- Bangkok,  June 25, 1992

United States
 “Massimo Gasbarroni was the best interpreter of the accepted Classical guitar repertoire in the 20th century and one of the very best interpreters of classical music of any instrumental genre in Classical music”
                                                                           TheFineArtsReview1(Smith Sherman)


There was so much to like about the Gasbarroni performance of the Marlborough op. 28 by Sor. I think that it is a bad performance to advertise Gasbarroni with... because it is too good This performance is a gleaming ruby set in 24 carat diamonds.  It was universal…through it's eccentricity. It’s wasn't beautiful...it was human and colourfully vivid and flexible in it's reflection of those things. Each phrase had an individual life. With this kind of perspicacious eccentric intensity the aura that Gasbarroni projects over and behind the piece is a total psychic world.  The tonal variety coupled with the intuition of how to couple that with timing and dynamic makes it no longer a stale recitation of sonorities in antiquated diatonic form...as Sor has been recited for decades.  That in itself is a very interesting psychic phenomenon manifesting itself from within Gasbarroni."
                                                      
TheFineArtsReview1 12 giugno 2009

Venezuela
CONSERVATORY, Caracas
"A sensitive interpreter whose limpid performances qualify him as one of the most refined contemporary guitar soloists. Gasbarroni is possessed by the "angel of music". With serene fullness of expression he becomes one with the music and performs with the difficult ease of the great concert artist. There is the aura of the true artist in him. Music surges from his guitar with spontaneous beauty. In his playing there is no sign of that great effort that in most cases damages the performance through insufficient technique or lack of musical instinct. Gasbarroni has the intelligent comprehension and the good taste to express with naturalness what authors have created. His performances are the product of a thoughtful penetration, knowledge of cause and effect and from this comes the series of subtleties that gives a clear profile to these interpretations. Beyond any doubt he belongs to the category of the greatest guitarists of our times. A fine recital by a superb artist."
                R.H.Lopez, “EL NACIONAL”, Caracas  August 22, 1975

“In this difference of areas and styles the interpretative sensitivity of Massimo Gasbarroni is appreciated even more. Together with his technical skill, his stylistic versatility, his artistic “angel”; those gifts, genuine and admirable, that reveal, define and impose upon the concert artist born to be such the rare imperative of the guitarist, that is, the reawakening of a small instrument in the soul of the great public”.
                   Israel Peña “ULTIMAS NOTICIAS” – Caracas  August 31, 1975