"Stamatia Karampini conducted the first half ( Vengerov the 2nd). It got off to a rousing start with the overture to Johann Strauss's Die Fledermaus, its exuberance well-served. Max Bruch's G minor Violin Concerto was given an expansive outing, somewhere between leisurely and grandiose and grew in stature. " David Truslove, The Anvil
"It was immediately clear that the programme was extremely well rehearsed, and the young players made a spectacular showing from the very beginning.The Strauss overture received precise and idiomatic playing, with a proper sense of 'Viennese lilt' which at the same time never became an excuse for the rhythmically slovenly delivery which we can sometimes encounter in Strauss. The applause at the end was much more than conventionally polite."
Paul Corfield Godfrey
" In the Strauss Overture, there was a beautiful clarity in the intonation, and a golden bloom in the violins, crystal clear in the winds allowing the orchestra to play with a panache and a style all well directed by the young Greek conductor Stamatia Karampini. The high level continued with the arrival of Maxim Vengerov for the Bruch G minor concerto, his mastery was apparent from the first notes despite some lack of accuracy in the brass, but Karampini soon restored the balance by giving the Siberian violinist marvelous accompaniment matching his every argument. The beauty continued with the Saint-Saens Introduction and Rondo Capriccioso. Impeccable and magical playing, this was as perfect a performance as one could wish for, in phrasing, music and harmony with great interplay with the orchestra/" Gregor Tassie
" Under the confident baton of Stamatia Karampini, the Wuerth Philharmonic begin the afternoon gloriously with the Overture of J.Strauss Die Fledermaus, the smiles that apear instantaneously on the faces of the audience, testament to both the popularity of the piece and the virtuosity with which it is played by this stunning orchestra." Glasgow Theater
" With considerably aplomb, the young Greek conductor Stamatia Karampini directed the two violin works as well as Johann Strauss' sparkling Fledermaus overture. Ms Karampini's musicianship is gaining increasing respect through her engagements with a number of prestigious European orchestras."
"Karampini's shaping of the big Waltz tune captured that sometimes elusive Viennese lilt. The solo clarinet and oboe in the overture's wistful central section were exquisitely shaped by the Greek conductor. The cheers and bravos built up to a crescendo as the stocky black-suited figure of Maxim Vengerov carrying his gleaming 1020 ex-Kreutzer Stradivari appeared on stage." Geffrey Mogridge
"Regarding the Sibelius Violin concerto, conductor Stamatia Karampini demonstrated a very high quality of sound management. In Schubert’s unfinished symphony, under Karampini’s leadership and very clear strokes, much attention to detail was paid, for the orchestra to obtain this memorable result of interpretation. We hope in the years to come even more Turkish orchestras to discover this unique conductor."
Reflections on the Arts
"A very successful concert with guest conductor Stamatia Karampini. The conductor led the Staatsorchester Darmstadt lively and meticulously, creating so an interpretation that managed to rivet the audience´s attention all the way through the duration of this very complex, intricate music."
(On Wolfgang Rihm´s : "Nähe fern 3")
" Dvorak´s Serenade op.22 was played with a light and transparent sound, with occasional sharp accents and a sense of musical humour. Stamatia Karampini is a very promising conductor: the Vienna Chamber Orchestra was lead with an impressive ease, lightness and joyfulness in this interpretation..."
Neue Kronen Zeitung Vienna
by Florian Krenstetter
"...The conductor Stamatia Karampini and the Orchestra partnered very well. The young Greek conductor made for an absolute highlight together with the excellently rehearsed Orchester des Musikkollegium Winterthur. Not only did she greatly impressed from the very beginning of the program, with Prokofiev´s Andante for Strings and the Suite from "Pelléas et Mélisande" by Sibelius, but her interpretation of the "Symphonie Classique" by Prokofiev was just tremendous. Her conducting style is light and sleek, elegant and clear. From her natural, harmonious movements pulsates the music, like a river. She doesn´t need grand effects, works with precision(...)placing attention to fine details and variation of sounds, she explored the individual voices and wove them together to a deliberate structure. This way, the popular "classical symphony" was a rare listening experience."
Der Zürcher Oberländer Zeitung
by Irène Maier
"The multifaceted score was superbly performed under the expert guidance of conductor Stamatia Karampini, whose abilities were given plenty of opportunities to shine. The talented Maestra demonstrated a vibrant vigour, precision and musical depth, while at the same time always maintained excellent balance amongst Singers, Choir and Ensemble."
( on "Un Ballo in Maschera", Verdi)
by Gerhard Hoffmann
"In the 'Eighth'( Beethoven) Karampini phrased beautifully the first movement, singing phrases and emanating beauty. A scrumptious "Allegretto" was accomplished, with a great sense of rhythm and clear sound. This was a first time performance for the Barcelona Symphony Orchestra of the piece "Dona Nobis Pacem" by Vaughan Williams featuring the "Orfeo Català" choir; the interpretation was filled with attractive colours, great textures of its melodies and a lot of passion."
by Ablo Meledez-Haddad
"Stamatia Karampini refrained from special effects and focused on illustrating the complexity of the score. To do this, she managed to keep the Orchestra away from that lazy " porridge"-like sound , which always creeps in at a certain point in Brahms symphonies Stamatia Karampini achieved to avoid this, by prioritizing and maintaining a constant attention to the lucidity of the interpretation, which never sounded fake, overly sentimental or mawkish."
(on Brahms´s 3rd symphony)
by Frank Raudszus
"Particularly impressive was the Greek conductor Stamatia Karampini, a hardy young "Lady in Tails", who wasn´t intimidated by the savvy Düsseldorf Symphony Orchestra, but declared her desires in a gracious, albeit very precise way. There was a very powerful, non-sentimental reading of Mendelssohn's Symphony No. 4, the "Italian", in which the second movement sounded with an almost ruthless melancholy."
(The day after the unveiling of the Mendelssohn Monument)
Please find here an essay composed by author Quirino Principe with the title:" Lo stile di Stamatia Karampini"
"The young conductor Stamatia Karampini performed Shostakovich´s 5th Symphony with an astonishing level of intensity and structure, exhibiting a profound knowledge of the work with a passion previously demonstrated by conductors of the caliber of Mravinski, Kondrachine, Ancerl, Sanderling, Bernstein and more recently, Haitink. From start to finish, she remained in complete control of the orchestra, wielding the baton with extraordinary precision - a phenomenal interpretation. The audience left the concert hall tonight with the impression that a new star had been born”.
(Orchestre National de France)
by Michel Le Naour
" During the final performances( of the conducting competition) the Greek candidate maintained her undeniable charisma, her unique gestures and a close intimate communication with the orchestra musicians. As the only one of the finalists to conduct by heart she gave the most personal interpretation of "Don Juan". She received the "Prix du Public". The audience exploded in applause, many of them standing, a reaction appropriate to a passionate interpretation and demonstration of a deep understanding of the musical material."
by Nicolas Mesnier-Nature