“This attempt at an alternative interpretation must be praised for its professionalism and the virtuoso musicianship that remains true to the spirit of Schubert. It is certainly a valuable addition to the extensive discography of this work.” – Klassik begeistert (Winterreise, October 2025)
“I recommend this recording to anyone who likes these songs and is familiar with piano interpretations. It has become particularly dear to me.” – Pizzicato (September 2025)
“Tomasi interpreted the work with impressive sensitivity and virtuosity. The young Italian seemed completely absorbed in his instrument.” – Nordkurier (Konzertkirche Neubrandenburg, Neubrandenburger Philharmonie and Will Humburg, April 2024)
“The guitars, played with skill, intelligence, expressiveness and, above all, with an extraordinarily refined sense of tone colour, penetrated and recreated the poetic spirit of the texts, blending perfectly with the singing into a harmonious and deeply meaningful whole. (…) Everything was expressed through varied, precise and incisive stylistic approaches, in a close dialogue between the soloist and the guitars, which masterfully highlighted, accompanied and anticipated the emotions conveyed so beautifully by the singer. His warm, expressive voice, the power of his interpretation – always vivid and compelling – his clear diction and impeccable intonation drew us into the very heart of the drama. (…) An interpretation that made us dream. A magnificent concert, greeted with thunderous ovations.” – Il Risveglio Popolare (Teatro Giacosa di Ivrea, Rassegna Internazionale di Musica da Camera “Accordi Rivelati”, March 2023)
“Among all the arrangements of the piano part, the most faithful to the original work is probably the one for two guitars, above all because lieder with this accompaniment were already sung in Schubert’s lifetime. Straight to the point: there was hardly ever anything you felt missing at this matinée, especially since the size of the hall for just 60 listeners fit perfectly with the intimacy of the accompaniment. The only problem could have been that the voice might seem too unsheltered and exhibited. However, Jonas Mueller with his fine, excellently guided baritone voice, and with great conciseness and clarity told the story of a man who is increasingly driven to self-pity and depression by the end of his love, thereby letting the desire to die grow at the same pace. (…) In the second half, it is almost only a matter of graves, cemeteries, dying, the extinguishing of the sun, and finally – of blunt survival, when the desperate wanderer clings to the Leiermann and perhaps makes sure that his plate no longer should be empty if he sings only asking for proper pity. If Jonas Mueller were this singer with a hurdy-gurdy or with the admirably distinguished accompaniment of the Tomasi-Musso duo – the plate would certainly be filled quickly.” – Süddeutsche Zeitung (Kammermusik in Pasing, January 2023)
“Right from the opening lied, the trio was convincing: voice and string music interwoven in a moving auditive experience that seemed to float down the nave. The intimate and tender, as well as angry and longing for death, feelings of the wanderer, who is accompanied along the existential paths of fate through barren winter landscapes, take shape. Hardly did the audience dare breathe (…). Jonas Müller succeeds in fostering the fate of the deceived lover whose singing is more and more into depressive delusion. He knows when to reach a rapid fortissimo or a sonorous piano, and when to keep to a withheld mezza voce. (…) Singing for 75 minutes without a break – a physical peak performance he masters brilliantly. Davide Giovanni Tomasi and Marco Musso accompany the baritone on their guitars cautiously, but in a totally convincing way. They provide an expressive resonance capacity to the wanderer’s extreme feelings.” – Passauer Neue Presse (Alte Kirche Pleinting, January 2023)
“Just before the intermission, Davide Giovanni Tomasi granted his listeners an anticipated highlight of the program, the famous Chaconne by Johann Sebastian Bach (…). It was immediately noticeable how important this piece of music was to him. Its charisma had the effect of a plea for peace in the restlessness of our present. There was no lack of effect (? Non mi convince) in the hall – absolute silence for the whole time, and then thunderous applause. (…) An evening that will remain among the listeners’ special memories.” – Süddeutsche Zeitung (Iffeldorfer Meisterkonzerte, September 2018)
“The second part of the concert was entirely dedicated to the nineteenth-century genius Giulio Regondi: Tomasi engaged in two works which only a few guitarists perform due to the terrible technical difficulties, the studies n. 2 and n. 4. A challenge which the musician from Pavia overcame with skill and sensitivity thanks to a sparkling and very precise touch. Afterwards, he played Introduction and Caprice op. 23, another difficult and virtuosistic work by Giulio Regondi: during the fifteen minutes-long piece, Tomasi proved his technical ability, adding color and vigour (when needed) to the work with an astonishing ease.” – Il Cittadino (Atelier Chitarristico Laudense, September 2018)
“What a guitar evening! Excellent, rich, magical, with original music and a great young talent. He is not a guitarist of wild, gritty grasp, he does not aim his magnificent technique to superficial circus effects, but to the finest quality, drawing artistry from the music itself.” – Tiroler Tageszeitung (Meister und Kammerkonzerte Innsbruck, January 2018)
“A new record premiere has been displayed with incredible assurance to our listening. It is Davide Giovanni Tomasi’s, a 26-year-old guitarist from Pavia, and it is no less than a masterpiece (…) A record of great merit that confirms the authority of a performer of the highest level capable of hazarding such an ambitious programme and of disclosing it with his strong personality.” – Seicorde (To The Edge Of Dream, 2018)
“Tomasi’s excellent musicality and wonderful sound from his Philip Woodfield’s guitar fitted extremely well with his colorful program (especially Takemitsu, and Britten) and proved to everyone that his artistic sense will lead him to a promising career.” – Gendai Guitar Magazine (Hakuju Hall, Tokyo, December 2017)
“Tomasi performed another miracle at Klarisky Hall. (…) The young guitarist was a perfect match to his instrument. He chose two demanding compositions, never once hesitating in the whole evening, mastering them perfectly not only from a technical point of view, but also expressively, making his performance even more of a unique experience. Tomasi copes well not only with technique, but also with expression. This was shown also in his interpretation of Nocturnal after John Dowland op. 70 by Benjamin Britten. This hell of a challenging work in which the artist has to keep track of every single tone, of every single phrase, so that the listener can appreciate the complex musical structure, is a challenge for any guitarist. Slow passages alternated with rapid sections played at an extremely fast tempo and the cryptic structure (and it is the artist’s task to create a comprehensible whole) were so natural for Tomasi, as if it were a work for a child or he himself had written it. Tomasi is the music he plays not only formally and expressively, but also from a compositive point of view. Therefore, there was not a single mistake, so Klarisky Hall enjoyed the evening with a wonderful artist, wonderful compositions and wonderful composers. Our eyes couldn’t believe that they were watching such a young person, as it requires an experienced artist who has matured both technically and expressively, but in particular mentally to perform such a repertoire. The young Italian, who is just 24 years old (…), showed remarkable maturity – not only for his technical and expressive qualities, but also for his humanity and personality. Our well-educated audience at Klarisky Hall appreciated as well – thanks to the never ending applause, Tomasi had to play an encore and honestly I admit that I wouldn’t mind if the applause lasted until today.” – Moja Kultura (Klarisky Hall, Bratislava, June 2016)
“He has really amazed us for his flawless and enchanting technique and his expressive maturity, uncommon in such a young musician: warmness of the sound, breathing phrasing, refined colours; you had the feeling that the artist and his instrument were one” – Il Risveglio Popolare (Auditorium Mozart, Ivrea, November 2013)