Paul Fowles, Young Italian guitarist shines on centurise-spanning program, “Classical Guitar”, Fall 2016, p. 79   Nunc by Goffredo Petrassi (1904-2003), is one of those late-20th century heavy-weights that floats to the surface every decade or so. John Williams has performed it on a number of occasions and also featured it in BBC broadcast from the distant past, although it seems the Williams recording many of us believed would follow has ... (more)

Andrea Aguzzi, Review of “Giacomo Susani plays Petrassi Bach Tansman Weiss”, Stradivarius, 2015 Blog “Chitarra e dintorni”, April 30t “What can I say? Surprising. Giacomo Susani immediately convince in his debut album devoted to music by Petrassi, Bach, Tansman and Weiss with a sound immediately recognizable, warm and immediate. Listening to him is really impressive, he strikes with his absolute mastery in musical lexicon, the total technical ease and a sense of immediacy that is able to convey managing to put the spotlight on expressiveness and emotions....” (more)

Francesco Biraghi, “Il Fronimo” no. 171, October 2015, pages 71/72 “Giacomo Susani is a young guitarist (born in 1995) who graduated with honours in that hub of refined artists which is the class of Stefano Grondona at the Conservatory of Vicenza. Since 2014 he has been improving his skills in London with Michael Lewin, receiving, amongst other things, the “Julian Bream Trust Scholarship”, bestowed by the same Bream. It is of course true that these things do not make a pupil great, but ...” (more)

Interview with Giacomo Susani by Andrea Aguzzi Blog “Chitarra e dintorni”, May 28th, 2015 The first question is always the classic one: how does it start your love and interest for guitar and what instruments do you play or have you played? I came across the guitar during a summer camp when I was 7 years old and I was immediately fascinated by it. So I started to take lessons in a little music school in my town... (more)

Mario Riboni, “Amadeus” no. 308, July 2015, p. 107 “For a young person, starting off in the recording field, and particularly with a label that is far from second-rate, is a sort of baptism of fire: going beyond diplomas, concerts, competitions won and everything else, you enter the difficult reality of the musical profession, where you are faced with those who first were teachers and yet have now become colleagues and with whom you are compared, confronted and appraised...” (more)