Montenegrin classical guitarist Goran Krivokapic holds solo recital at the home of Greg Castelnuovo-Tedesco

Brilliant Montenegrin classical guitarist Goran Krivokapic made a special appearance in solo recital at the home of Greg Castelnuovo-Tedesco, grandson of the late Italian famous composer Mario Castelnuovo-Tedesco in West Los Angeles, a Mother’s Day treat.

Krivokapic was invited to perform as part of William Jenks’ U.S. Classic Guitar Series that he founded 20 years ago.

Krivokapic, the virtuoso, is the winner of 19 international classical guitar competitions and is known to create his own transcriptions, collaborating with composers while developing repertoire for the guitar.

He has performed across Europe, North and South America, Asia, Africa and Russia, appearing at major festivals and concert halls such as the Tchaikovsky Concert Hall, Moscow; Lobkowicz Palace, Prague; The Royal Concertgebouw, Amsterdam, among many others.

Together with Danijel Cerovic he formed the Montenegrin Guitar Duo which has performed on four continents and released the highly acclaimed series of world premiere recordings featuring guitar arrangements of J.S. Bach’s complete English Suites for Naxos.

Passionate about teaching, Kripokapic, 45, has given masterclasses and lectures at universities and festivals worldwide. Having taught previously at the Koblenz International Guitar Academy, the Lemmens Institute and Prince Claus Conservatoire, he currently teaches at Detmold University of Music and is professor of guitar at Cologne University of Music. He began playing guitar when he was nine with Nico Poznanovic, and continued his studies with Srdan Tosic, Hubert Kappel, Roberto Aussel, Carlo Marchione and Raphaella Smits.

At this Mother’s Day guitar recital, Krivokapic delighted the concert attendees performing compositions by Bach, Regondi, Giuliani, Lauro, and Brouwer.

He is a master technician with great focus and played each composition remarkably.

One of the bright spots, of the many, on the program was his rendition of Giuliani’s Rossiniana Op. 122, No. 4. It was transcendent. Krivokapic sounded like a miniature orchestra with refinement of technique and expressiveness. Giuliani wrote this piece wanting it to be something that had never been achieved on the guitar. Krivokapic accepted this challenge, channeling Giuliani’s intentions and rocketed the composition to the next dimension.

And this is how he played all of the pieces on the program.

 

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