...Recently we attended a great piano recital by Lefki Karpodini at the Theocharakis Foundation...From the first notes, her playing disclosed an ingenious soloist at the peak of her power, who disposes an immaculate technique, a high musical understanding and musicality. Furthermore, she acknowledges the context and the user's guide - not always to be taken for granted!- of this specific repertoire.

...the plastic and carefully articulated phrasing, the weight-controlled pianistic sound and the good balancing of the repulsing prescripts for "impressionistic" sound and structural clarity defined a sequence of exquisite Debussyan interpretations. The readings were enriched by etherial dynamic gradations, sensitive figuration of the music rhetoric and a pulsative from euphoria interpretation of the "L'isle joyeuse", delivered with masterful transitions of volume/liquidity in the phrasing, a good consistency of music coherence and sound-transparent, orgasmic climaxes of a great range.

(translated into English, from the newspaper "Efimerida ton Syntakton")
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"... obviosuly she could master Debussy as well as the various nuances of his works- not to mention her technical mastery-....she gave a dazzling performance of "Cathedral Engloutie", one more exquisite moment was imprinted in "Feux d'artifice", with her firework-like interpretation on a difficult piece...she was able to deliver the playfulness of the "Arabesques", Debussy's impressionistic vision in "Reflets dans l'eau", the light satire on Paris' bohemian music tradition of the 1910's ("La plus que lente") and the vivid sensation of a full presence that "L'isle joyeuse" reflects. But also the sad nostalgy of the tribute to Debussy's pre-classic idol, Jean Philippe Rameau, was delivered successfully. ....the warm, resounding applause of the audience towards Lefki Karpodini left no doubts about the success of her recital dedicated to Debussy.

(translated into English, from the music magazine "Avopolis")
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The PLG’s Young Artists week came to an ecstatic end with Messiaen’s “Chants de terre et de ciel” courtesy of soprano Ruby Hughes and pianist Lefki Karpodini....there’s no doubt that Karpodini's alert and graphic pianism brought these five songs alive.

For the classical music portal "Musical Source"
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…During the Italian Concerto by J. S. Bach...her playing projected especially fresh and fluent, while her articulation most clear and analytical. Later on, underlining the undoubtedly romantic element and juxtaposing the sound colours, she delivered a significant and well-organised reading of the sonata for piano Op.1 by Alban Berg. With the Fantasy Op.49 by F. Chopin, she completed the first half of the concert. Here, the technical security in combination with her measured rubato, allowed the poetry of the music to emerge effortlessly. In the second half of the evening, she explored the pianistic cycle Kreisleriana Op.16 by R. Schumann, a significant composer with whom the artist seems to have a special relationship. Her perfect introduction, injected with fantasy and with an ingenuous sensuality through which the frequent dialogues of the left and right hand were lightened convincingly, proved that Lefki Karpodini is not just a recreator but a musician who knows how to contemplate, to be excited and how to capture her audience with “her own” special way.


(translated into English, from the newspaper "Apogeymatini")


… in the accuracy and honesty of her technique. We insist on the word “honesty” because indeed, Lefki Karpodini does not do favours to herself and of course she does not rely on the tolerance of the audience or on the thought that small imperfections are not detected. Therefore, she dares choosing speeds of a great virtuosity as she is sure that she will surpass them with grace and ease. Indeed, she succeeds with an assurance totally unexpected for her age. To this, we should add the correct comprehension of the architecture in general, but also of its’ extensions which meet the needs of the style. It is the education which prevents from unacceptable exaggerations, which has already being digested, and it comes out as a component of personal expression- of this amalgam of powerful as well as sensitive recitation which seals the born performer.


(translated into English, from the magazine "Estia")


....the level of interaction between the two players, whether they played as two soloists or one unified duo....the way the rests and pauses were manipulated and utilised to characterise the entire performance... for Simon Wallfisch and Lefki Karpodini...the moments of silence became as important as the moments of sound, resulting in an overall depth to their respective performances. Simon Wallfisch's performance of the G minor sonata was extrovert, charismatic and beautifully phrased, always slightly on the edge with its pungent sforzandi, resulting in exciting listening: he was supported by marvellous piano playing from Lefki Karpodini.


From the classical music magazine "Music and Vision"
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Binz Junge künstlerische Elite auf Jagdschloss Granitz – das ist für die Festspiele Mecklenburg-Vorpommern die sprichwörtlich sichere Bank und für die Hörerschaft der Garant für ungetrübten musikalischen Genuss. Seit vergangener Woche ist diese Reihe nun auch im diesjährigen Festspielprogramm wieder etabliert und darf – sehr zu Recht– auf erneute ungeteilte Zustimmung hoffen. In dieser Woche gab es den zweiten Abend. Zu Gast diesmal das Klaviertrio Trioskop und damit eine Besetzung, die im Rahmen der Festspiel an sehr unterschiedlichen Orten schon oft zu erleben war. Nicht selten ähneln sich dann auch die Programme – kaum allerdings die stets hohen Qualitäten interpretatorischer Eigenständigkeit. Und das macht dann bestimmte Repertoirestücke etwa Beethovens, Haydns oder Schumanns wieder interessant – bis hin zur Neuentdeckung! Auch in dieser Hinsicht war der Abend mit dem Ensemble Trioskop ein Gewinn. Weder Beethovens viel gespieltes op. Nr. 3 noch Schumanns ebenfalls oft favorisiertes d-Moll- Werk op. 63 ließen in seiner Interpretation irgendwelche Anzeichen von Routine oder gar Verschleiß erkennen, von Frank Martins geradezu elektrisierendem Trio über irische Volksweisen ganz zu schweigen. Mit dem polnischen Geiger Wojciech Garbowski, dem deutschen Cellisten Marcus Hagemann und der griechischen Pianistin Lefki Karpodini haben sich hier drei hochqualifizierte junge Musiker gefunden, die hinsichtlich einer sehr überzeugenden musikalischen Gestaltung dennoch mit einer Stimme sprechen und fair für nachhaltige Eindrücke zu sorgen vermögen. Sicht- und hörbar ein jeweils individuell voll ausgelebtes und höchst lebendig realisiertes Engagement, bemerkenswert die Synthese in einem interpretatorisch fesselnden Zusammenwirken.Hier wurde Musik als greifbare Sprache und Mitteilung begriffen, als Möglichkeit, sehr unterschiedliche Befindlichkeiten und Botschaften zu vermitteln – vom auf- und ausbrechenden jungen Beethoven über den sowohl innigen wie energisch leidenschaftlichen Schumann bis zum musikantisch- hinreißenden Schweizer Frank Martin. Keine Möglichkeit schien ausgelassen, die Ausdrucksvielfalt dieser drei Werke auszuloten. Wünsche blieben hier nicht offen.

E. OCHS