>>>Ausgewählte Pressestimmen



Die indische Presse über Amelia Cunis DHRUPAD-Musik:


... 'Her performance is so amazing that I would like to believe that Signora Cuni is a reincarnated pandita from a bygone age', says Kamalakar Sontakke, chief executive of the Nehru Centre ...
Times of India, Bombay, 1.2.1995

... perfect diction in Hindi and Sanskrit poetry and an amazing command over the contemplative character of Dhrupad music. Her music is also admirable for her voice delivery and the use of Gamak techniques...
Navbharat Times (Hindi Daily, Bombay), 12.2.1995

... remarkable for her chaste diction and her delicate handling of the poetry in the complex rhythmic patterns which dominate Dhrupad singing. Her command over the Gamak techniques is astounding. She won wholehearted applause for some very complex Tihayis ...
Maharashtra Times (Marathi Daily, Bombay), 19.2.1995

... It is time to acknowledge the hard work and appreciate the sheer enjoyment the artist feels for her art which she shares with an audience which is Indian and all agape at her mastery ...
'Amelia Cuni-dhrupad vocalist, take a bow'
The Afternnon Despatch and Courier, 2.2.1995

... Amelia is perhaps the first (foreign) vocalist to have ventured on the performing platform in this city...In point of both manner and matter, she gave unimpeachable evidence of long and arduous shagirdi (studentship) with some of our acknowledged dhrupadiyas...
... excellent use of meends and tihayis and a variety of rhythmic bols ...
... the raga visualization was streamlined and accurate ...
Mohan Nadkarni, The Times of India, Bombay, 17.3.1994






U.K. - Tour mit Terry Riley und Sounds Bazaar:


... Amelia Cuni´s own 'Danza d´Amore' (is) a beguiling marriage of medieval Italian poetry with mystic Indian traditions, given in tandem with the premiere of her 'Venga alla Danza'. This is 'crossover' at its most fruitful, in which irregular dance rhythms come tumbling out against the nasal yet dusky singing of the Italian-born Cuni, whose voice makes a good case for reincarnation.
John Allison, The Times, 15.10.1999

... Even more striking - indeed, for me, the most remarkable work in the programme - was Amelia Cuni's performance of her own 'Danza d'Amore'...Since its spiritual content is so very close to Indian mysticism, Cuni has here truly created a musical bridge between East and West.
The second half of the evening was dedicated to Terry Riley's latest work, 'Morning River' (commissioned by the Norfolk and Norwich Festival). This composition is entirely devised for Silkstone's group `Sounds Bazaar´, with Silkstone effortlessly switching from violin to sitar, but the emotional weight is entirely carried by Amelia Cuni's voice (singing Hindi and English words). Particularly in the work's section, 'What the river said', Terry Riley showed remarkable mastery both of his raga material and the fascinating instrumental combination.
Hugh Vickers, The Independent, 29.10.1999





DANZA D'AMORE CD-Kritiken:


... A remarkable and distinctive synthesis of Indian and Italian mystical and musical traditions ...Her pitch is laser-precise, her enunciation exquisite, and her delight in the rich Italian vowel sonorities is palpable. DANZA D´AMORE is a treasure-trove of surprise fulfillment, reflecting the imaginative conception of a marvelously accomplished musician.
Charles Rankie, RhythmMusic, U.S.A., November 1998

Imagine, if you will, a woman with a hauntingly beautiful voice, singing Italian lyrics in a classical Indian style. The voice belongs to the amazing Amelia Cuni who was raised in Italy then travelled to India to learn the dhrupad method of giving voice to a song. This is one of the most soulful, inspirational types of singing....The arrangements of flutes, tablas, violin, bass, sitar and percussion support her voice with a marriage of Indian and Early European instrumentals. Elegant, delicious and satisfying, with or without translation.
’News on Recent Releases’ by Dan Liss (aus dem Internet)





Über die Aufführungen von DANZA D'AMORE:


... chiudere gli occhi e lasciarsi portare dalle limpide vocalizzazioni della Cuni e dalle ritmiche cadenzate e leggere del suo cantoinfonde un fortissimo senso di armonia.Altrettanto affascinante la performance di Nuria Sala Grau...figura misteriosa e ascetica, la danzatrice accompagna il canto 'disegnandone' il racconto.

... losing the eyes and letting oneself being carried away by Cuni's smooth vocalizations and nimble rhythms, comunicates a wonderful sense of harmony. Also Nuria Sala Grau's performance was as fascinating. With her mysterious and ascetic figure, the dancer accompanies the singing making the text visible.
Federica Sassara, Il Gazzettino del Friuli, 8.7.1997


... radikal, unerwartet, aber sehr elegant...
Waltraud Schwabe, Frankfurter Allgemeine Zeitung, 7.12.1999





Über Amelias Dhrupad-CD:


... It is Indian music, ethnic music as Bach is ethnic, concentrated beauty which does not make any concession nor takes shortcuts. An uplifting language, still far away but brought closer by that sweet sounding, familiar voice, an embassy of civilization.
Giordano Montecchi, l'Unità, 30.8.1999

... Amelia Cuni is one of the very few Westerners to have mastered the complexities of Indian vocal music...It is all more remarkable that she sings dhrupad , a style which is usually the exclusive province of men....Cuni is an excellent performer who explores the subtle nuances of each raga in extended alap sections and metered compositions. Her acute rythmic control and fine sense of intonation lead to many inspired, beautiful and surprising musical moments ...
Gerry Farrell, Songlines, Winter 2001





Die deutsche Presse über die Multimediaperformance ASHTAYAMA - Song of Hours:


Morgenland, Abendstern:

Amelia Cuni, Meisterin des indischen Dhrupad-Gesangs

... Nie jedoch wird diese Reise vom Morgen- zum Abendland kitschig ... das geschlossene Stoffquadrat ist für sie im weitesten Sinne auch ein Tempel. Dort wird ihr Gesang zu Meditation, zu intimer Kommunikation mit sich selbst ...
Waltraud Schwabe, Frankfurter Allgemeine Zeitung, 7.12.1999


Über den Tönen steigt die Sonne auf:

Die Performance "Ashtayama" beschwört alte hinduistische Traditionen
... Die Produktion ... gehört sicherlich zu den beachtlichsten Theatererlebnissen, die im Medientheater (ZKM) bislang zu besichtigen waren. ... Viele Mixer für einen Abend, der gerade durch seine Schlichtheit und den präzisen Einsatz der Mittel bestach...Stimmungsvolle Rituale eines Theaters, das ungeachtet seines Anspruchs, etwa "ins Jenseits der Gegensätze" zu führen, faszinieren kann ...
Rolf Fath, Badische Neueste Nachrichten, Karlsruhe, 29.1.2000

Tagesläufe wie Ozeanwellen
Festival Altstadtherbst in Düsseldorf: Ashtayama mit Amelia Cuni und Werner Durand begeisterte mit Song of Hours das Publikum im Tanzhaus NRW.
... Eine beeindruckende Klang-Performance mit einer faszinierenden Stimme und einem souverän konzipierten multimedialen Rahmen."
Bernd Schuknecht, Rheinische Post, 27.9.2002





Rezensionen von ASHTAYAMA beim 10ten OTHER MINDS FESTIVAL, San Francisco:


Über die CD ASHTAYAMA-SONG OF HOURS:

...faszinierende Soundscapes, die Überlieferung und Moderne ideal ausbalancieren. Oder: avancierte Weltmusik ohne faule Kompromisse.
Udo Andris, Badische Zeitung, 15.12.1999


..die Bedeutung von ASHTAYAMA ... liegt in der absoluten Modernität, im hervorragenden Zusammenspiel von archaischen Ausdrucksformen (die Raga-Musik) und freier Improvisation...ein gelungener Balanceakt zwischen Tradition und Experiment,... Für den Hörer aber entsteht, ungeachtet aller theoretischen Hintergründe, ein bezauberndes Klanggebilde...
Gino Dal Soler, Blow up, Dezember 1999


...what awaited me was nothing short of sheer surprise and pure delight. The combination of Amelia Cuni's powerful voice-completely faithful to its dhrupad training-and Werner Durand's musical diversity, full of twists and turns of a truely unexpected kind, have resulted in one of the most invigorating collaborations in recent memory...
Jameela Siddiqi, Songlines Winter 2000, Frühjahr 2001


Italian singer Amelia Cuni has a voice like a drink of mountain stream water...
Always at the centre lies Cuni's exquisite phrasing, delicate but determined, informed by prolonged and deep study of one of the world's great vocal traditions.
This is not music that borrows a few Indian flavours, but a serious attempt to make something new and expressive from within Indian art music. ...
If Ashtayama 's effect is dreamlike, it's a dream in which every scene is clearly lit and the shadows have sharp edges.
Clive Bell, The Wire, April 2001





Über die CD APSARAS mit Alio Die:


... Apsaras is breathtakingly beautiful, combining soothing electronic textures, drones, and organic sound samples from Alio Die (Stefano Musso) with the amazing North Indian dhrupad singing of Amelia Cuni. ... Often (she) hits a perfect note and holds it seemingly endlessly, like a moment of perfect beauty in your life you wish you could remember forever - and do.
Dave Aftandilian, Rezension aus Ink19.com

... Amelia Cuni's style of Indian dhrupad singing is not derivative, or an amateur attempt at this style, but instead a wonderful contribution that seems to come from the source of the dhrupad art itself. ... Amelia Cuni's smooth and fluid voice paired with Alio Die's resonant and cavernous ambiences makes for a wonderful sonic trek into the dark of a thunderous and stormy night. This collaboration between is truly gifted and the dense minimal ambiences so compliment the excellent microtonal vocalize. ... Certainly, this reviewer has no choice but to make this excellent work an AMG Pick!
Matt Borghi, a review from www.mp3.com





Roland Pfrengle's METALL, uraufgeführt bei November Music in Essen:


... (Roland Pfrengle) hat (METALL) für Amelia Cuni geschrieben ... Sie brachte die nötige Sensibilität mit, diese feinen Klangfelder zum Schwingen zu bringen ...
DG, WAZ 13.11.2002





JOHN CAGE's SONG BOOKS COMPLETE am Theater Bielefeld:


... mit der Spezialistin für indischen Dhrupadgesang und Bühnentanz, Amelia Cuni, gab es eine hochkarätige Besetzung beider Kunstsparten in Personalunion ...
Stefan Drees, Positionen Nr. 84







John Cage: SOLO for Voice 58 from Song BOOKS (1970):


Il risultato, tanto meditato quanto raffinato, è un originalissimo distillato di emozioni, governate dalla presenza ravvicinata e senza veli della voce di Amelia Cuni, limpida e flessuosa come il giunco (...) Un incontro fra Cage e l'Oriente che pochi forse avrebbero immaginato così suadente, diretto, eterodosso comunque lo si guardi, da New York o da New Delhi.

Giordano Montecchi, il giornale della musica, Sept. 2008


Cage meant the performer to evoke the spirit of Indian music but Cuni brings matters full circuit by realizing the piece as one intimately versed in the tradition’s techniques and microtonal inflections. Cage provides a microtonal skeleton and Cuni manipulates the minuscule micro-divisions between notes wit an innate ease that Western performers can take as a measure for the future. The result is a profoundly authentic, Apollonian beauty.

GRAMOPHONE, July 2008


The Other Minds CD presents vocalist Amelia Cuni's fascinating interpretation of John Cage's microtonal Ragas. (...) Cuni and her collaborators ... are absolutely up to the task. The singer brings an intriguingly diverse cultural and musical background to this project of mixed Italian and German heritage ... indeed, each piece presents new melodies in vastly different registers, requiring inventiveness and prowess from the vocalist. (...) She has been performing the work for six years, and this riveting recording is a testament to her dedication.

Marc Medwin, Signal to Noise, June 2008


Im klassischen Dhrupad-Gesang hat (Amelia Cuni) es zu einer Virtuosität gebracht, dass sie selbst in Indien respektiert wird. (…) Eingebettet in ein feingliedriges Klangdesign aus Elektronik und Perkussion trägt Cuni die Melodien mit expressivem Gestus vor. Ihre Stimme setzt so einfühlsam ein, dass sie die feinsten Stimungsregungen der Ragas zum Ausdruck bringt.

Christoph Wagner in Jazzthetik, June 2008


The melodic modulations and the use of rhythm come together in the vision of Amelia Cuni, great interpreter, with dance, gestures, body and hand movements and facial expressions contextualizing the whole and giving the music a scenic dimention without jeopardizing it. The voice is accompanied by percussion and electronics, which become protagonists too in their own right, especially when like last night, they are realized by as exceptionally rare virtuosi as Ray Kaczynski, Federico Sanesi and Werner Durand. A discovery, so to speak, another aspect of the multiple and fascinating world of John Cage.

EL PAÍS - Cultura, April 2006


But Cuni's singing is what should make her a sensation in various new, world, experimental and alternative music scenes. She is essentially an Indian vocalist with Italian flair, theatricality and technique. This is a new kind of hybrid singing, and it is stunning. (...) Hers is a huge array of vocal effects impressively disciplined. The ragas were not quite of India, not quite of Thoreau's Concord or anyplace else. They seemed more from an Asian subcontinent that is everywhere. (...) An excellent CD document of Cuni's performance of "18 Microtonal Ragas" has just been released on Other Minds Records.

Mark Swed in Los Angeles Times November 2007


A singer and composer living in Berlin, Cuni is a rarity — a Western woman who has spent a decade in India studying North Indian dhrupad singing and kathak dance. She is that uncommon artist who is equally comfortable in the oft-discomforting realms of contemporary multimedia musical collaboration and in the traditional world of Indian raga. (...) When I listened to the CD in the relative comfort of my own home, I was tempted to drop all program notes, close my eyes, and trance out. Such is the all-encompassing nature of Cuni’s realization. (...) A traditional review has no place here. Get the CD. Read first, then listen. There’s nothing like it.

Jason Serinus in San Francisco Classical Voice, November 2007