Classical Guitar Magazine, January 2006:
‘Cutting edge stuff, with not a single thread of corduroy.’
Paul Fowles

Classical Guitar magazine, May 2006:
‘Izhar Elias is a musician of outstanding ability, whose whole approach to his art displays a maturity beyond his years. I can make this claim with confidence having witnessed the man in action at the most recent Shell Darwin International Guitar Festival (see CG Dec 2005). The occasion was an all-contemporary chamber recital with the equally youthful recorder virtuoso Erik Bosgraaf, the uncompromising content of the programme being evidence in itself that there is more to Izhar Elias than the informed revival of bygone times. But it is in historic mode that we find him for the greater part of this disc, the spirited opening to Grande Ouuerture alone revealing that erudition and entertainment can peacefully co-exist…
A commanding and original release from a multi-faceted guitarist of the 2lst century.’
Paul Fowles


Haarlems Dagblad, May 2005:
‘The precise and skilled way in which Erik Bosgraaf and Izhar Elias play together is striking. In their multi varied program it is the music that dominates.’


Holland Festival Early Music 2004:
‘Izhar Elias is the perfect advocate of the 19th century repertoire…’

Dutch newspaper Trouw, September 2004:
‘Before one can play the classical guitar repertoire as a true master, one must have an exceptional talent. Such a maestro is Izhar Elias (Amsterdam, 1977), a young guitarist who has devoted himself to the repertoire of the nineteenth century. Elias couples an unbelievable technique with a great musicality: with a feeling for style, timing, color and depth he transcends his instrument on “Omaggio a Guadagnini” (his debut CD). The lyrical Elias is symphonic and you seldom encounter that with guitarists.’
Athony Fiumara

Guitar Diffusion (www.guitar-diffusion.com):
‘What we can say is that Izhar Elias is an unusual artist… Unusual by the discretion with which he pursues his career, all absorbed he is in his art. Unusual also by the articulation, which surprises first since it is so much far from the ones already listened, but whose nuances show themselves throughout the listening and remind of those that a conductor would demand of his orchestra. Unusual again by the playing technique cleared of these miserable avoidable noises. Unusual, lastly, by the sound he ‘takes out’ of his ‘Guadagnini 1812’ (title of the CD), instrument so different from those of classico-romantic period to which we are used. Different sound also from the one, equally superb, of the modern instrument he uses to end his program in fireworks. We liked these peculiarities…”

‘This recording stands out as a “real” early romantic guitar recording. The interpretations are different from most renditions we hear recorded today, but they sound “right” – and indeed, Izhar Elias has made an extensive study of guitar methods, as well as other musical texts of the period to arrive at the musical language of the period. The phrasing, articulation, and dynamics are carefully done and thought out for stylistic integrity. Elias has extensive creditials as a 19th century guitar specialist…Elias is an able virtuoso who uses technique for musical expression.’