Press Excerpts


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

back to Home Page