cello | Worldwide

When some soloists play (thinking of three or four in the past 18 seasons), they seem to inhabit the music so deeply it is almost like speaking, whispering, divulging an emotional part of themselves. This is what the audience heard as Nicholas Canellakis played the Dvorak Cello Concerto. The young man was sharing his soul, his emotions and most intimate thoughts with the audience, searching, pondering, expressing. With technical brilliance, he called out the audience’s deepest responses ... This was a performance too deep for tears, and the artist was called back for three curtain calls to cries of “bravo.”

Linda Phillips, Greenwich Sentinel (Connecticut)

Beethoven’s Concerto for Violin, Cello, and Piano...feels inevitably masculine, with a slow build and ultimate denouement that has Beethoven written all over it. But in Michael Brown, Elena Urioste, and Nick Canellakis’s careful hands, the piece became one of humor and intense, witty repartee. An electric, wild flirtation flew through the air between violin and cello for all three movements, drawing a few smiles and wide eyes ...

Lucy Gelman, The Arts Paper (New Haven)

The three young soloists were outstanding — Elena Urioste, violin, Nicholas Canellakis, cello (and the brother of the conductor) and Michael Brown, piano. They played with great familiarity with each other's technique, the cellist being the strongest of the three. Canellakis was, in fact, outstanding in his playing, with a sweet tone and vivacious accuracy. 

The most interesting music was with the soloists, whose intricate melodies blended so well, while the orchestra mainly was accompaniment, except at crucial loud tutti sections.

Priscilla McLean, Times Union

Magazine feature on Nicholas's upbringing and relationship with his sister, conductor Karina Canellakis. 

Tod Westlake, Hudson Valley Magazine

With Canellakis making the furiously challenging cello role look easy, the end result was a prestissimo romp...

Bruce Hodges, New York Classical Review

It was especially gratifying to hear cellist Nicholas Canellakis again after he had bowled me over with his playing of Leon Kirchner's Music for Cello and Orchestra with the American Symphony Orchestra this past April. Mr. Canellakis played in all three works this evening - a triple treat.

Oberon's Grove

“Superb young soloist”

The New Yorker

"impassioned," "with striking sensitivity," "the audience seduced by Mr. Canellakis's rich, alluring tone." 

The New York Times

“Mr. Canellakis was essentially note perfect. There was not only a high degree of intensity to his playing but also an anguish that belied his youth.” 

The New York Sun

“His energy and technical agility gave both light and heat... The Chopin glowed with warmth, and the Shostakovich, the evening’s highlight, offered a commentary on the human condition that ranged from vivid incisiveness to the most touching quiet introspection.” 

The Washington Post

“Mr. Canellakis was simply breathtaking right from the cello's passionate opening statement. He was deeply involved in the music, moving seamlessly from a gleaming upper register to the soulful singing of his middle range. Capable of both redolent lyricism and energetic, jagged flourishes, Nicholas's playing seemed so at home in the venerable Hall. The audience gave him a lusty and well-deserved round of applause as he was called back to the stage after his exceptional performance” 

Oberon's Grove

“Stood out with solos of power and expressiveness.” 

The Philadelphia Inquirer

“One of the most prominent young cellists.” 

The New Jersey Star Ledger
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