Francesco Caramiello, a pianist who made some recordings of music of Giuseppe Martucci and Giovanni Sgambati, gave solid, fairly persuasive performances of several of Martucci’s shorter piano works.
Allan Kozinn in "The New York Times"
Francesco Caramiello disposes of technical qualities to get the dicculties of the concerto (Sgambati) under control easily, and he disposes of an interpretative instinct that makes virtuosity in substance, too. The races on the whole keyboard have sometimes, something mysterious and demoniac which is not in the notes in themselves, that's shown here.
Nürnberger Philharmoniker have let themselves be contaminated and have engaged a duel with the solist whose the involved audience has been witness.
W. Bronnenmeyer in "Nürnberger Zeitung"
The young artist stood out to the honours of the news for a valuabe recording of Martucci's concertos for piano and orchestra with the Philarmonia Orchestra in London.
He's one of the artists who gives little importance to the outward… the pianist shows all his talent: he moves with among all the composers in his program easily… : Martucci, naturally, the author who, more than everyone, gave fame to him, the "Tema con variazioni" and the little known "Fuga": Caramiello point out all the structurals aspects with exemplary clearness and doesn't fail to dry, with contained sonority, that pinch of rhetoric which here and there comes out of the pages of neapolitan compositor. On the contrary, the pianist’s wise choices seems to give new poetic life even to pieces by trasgressive composers like Luciano Berio or John Cage . Caramello is an artist of eminent traditional extraction, brought up between pianistic technic and exercices of counterpoint… when he takes on modern or contemporary music he lights on the aspects that are closer to his own feelings, all under the control of his naturally elegant touch.
Alfredo Tarallo in "Il Mattino"
Strong of a solid technic and
of an incisive approach, Caramiello went through, with care, the musical line
moulded by Aaron Copland... an executive commitment which Caramiello kept in the
course of the recital... so it was for graceful melodic ways of manner fin de siècle,
by Edward MacDowell: "Sea Pieces" op. 55 found defined and light
lines, exposed with sensibility... not too veiled irony and clear reference to
the popular traditions, are the ingredients of "Souvenir de Portorico"
by L. M. Gottschalk, in Caramiello's interpretation all tends to produce
colors and atmospheres through the impression decidedly virtuosity...
appropriate execution for Cage's music (1948), in programme with
"Dream" listened in a careful and defined reading, with suggestive
Long final with Elliot Carter's music. "Piano Sonata"
composed in 1946 is a score made of asymmetries and contrasts with evident
nerves and accurate plots, and Caramiello's interpretation, once more played for
the pleasure of speed, convinced the audience, winning the applause.
Sari in "La Nuova Sardegna"
… Caramiello brings to the
piano not only his technical skill in running after "torn" rhythms but
also an educated taste for dynamic shading and phrasing"
Piras in "L’Unione Sarda"
Francesco Caramiello is a
wonderful reality of international pianism... without getting in details of a
successful recital, we are struck particularly by a sensational
"Tarantella" op. 44 by Martucci rich in involving sonority and
"Images Ier Livre" by Debussy, in which Caramiello pointed out all the
refinement, the elegance and the levity which distinguish the pianistic work of
the French compositor.
del Vaglio in "Ciemme"