Reviews:

" ..ottimo coordinatore Igor Pomykalo, un finissimo interprete. .."- Corriere di Saluzzo, Saluzzo, 1976

"Igor Pomykalo a fait revivre le Moyen-Age ..." -  La Nouvelle Republique, 1979

" ...Igor Pomykalo war der virtuose Expert auf den alten Streichinstrumenten." - Harzkurier, 1984

" ...vorzüglich Igor Pomykalo mit einer Drehleier-Imitation auf der Fidel. .." - Die Presse, Vienna, 1984

"...oder rein instrumentaler Besetzung in der die Stücke durch den schlanken, gläsernen Klang von Lira da braccio und Lirone besonderen Reiz erhielten.Deren Part hat Igor Pomykalo übernommen, der im Lauf des Abends durch seine Vielseitigkeit in der Instrumentenbeherrschung verblüffte." -  Wiener Zeitung, Vienna 1984

"Enfin, la part constante donée à l'improvisation dans la plus authentique tradition, … particulièrement pour les cordes jouées par Igor Pomykalo, avec leurs bourdons et leurs multiples ornementations-permettait, l'adhesion des auditeuirs au climat musical…" - La Montagne, Cl. Ferrand, 1985

"Već za svoga prijašnjeg serenadnoga programa na zadarskome Narodnome trgu upozorivši na neke postulate rane glazbe što će u njihovoj ozbiljnoj i studioznoj interpretaciji odzvoniti kao mogući autentični odbljesci prošlih vremena, preksinoćnji nastup glazbenika austrijske "Lyre" u Donatu još više je istakao stilsku jasnoću i čistoću takva pristupa trubadurskom i truverskom pjevu 12. i 13. stoljeća.....U profesionalno razradjenom programu…koncert bečke "Lyre"…bio je prvo ugodno iznenadjenje ovogodišnjih donatskih večeri, čijih ćemo se plemenitih trubadura rado sjećati." - Branko Magdić, "Večernji list", 1989

"…Igor Pomykalo schwang mit grosser Lust den Fidelbogen." - Standard, Vienna, 1996

"For the performance of the instrumental and vocal-instrumental music from the period of the Middle Age, Renaissance and the Early Baroque, Pomykalo has been self suficient … a real one man band singing and playing virtuoso on his intruments ..." - Jutarnji list, 2002

" He gave new life to the poetry of troubadours and trouveres singing with a gentle voice and bringing back the emotions and romanticism of the Middle Ages." Zadarski list, 2002

"Igor Pomykalo played masterly on the copies of the early bowed instruments (medieval fiddle and rebec; traditional dalmatian lijerica, renaissance lira da braccio and lirone) … He sang with a pleasant voice, good impostation, with clear diction and expressive stylistic melismas … Igor Pomykalo has greatly demonstrated the performance practice of the troubadours, trouveres, minstrels and minne-singers…" - Vjesnik,  2002

 

ACKNOWLEDGEMENTS (WIDMUNGEN, MEINUNGEN)

"Ich kenne den hervorragenden Musiker Igor Pomykalo seit nunmehr über 19 Jahren. Ich habe gemeinsam mit ihm in diesen Jahren, im Rahmen des Clemencic Consort, eine Unzahl von Konzerten mit Musik des Mittelalters, der Renaissance und des Barock in ganz Europa gemacht. Auch bei vielen CD-Produktionene hat er mitgewirkt. Herr Pomykalo hat mich dabei stets, nicht nur durch seine perfekte Professionalität, sondern auch durch seine spontane, vitale Art des Musizierens fasziniert. Bewundert habe ich auch immer seine unglaubliche Flexibilität in mittealterlichen, sowie barocken Musizierstil, wie insbesondere auch seine wunderbaren, stets neuen Improvisationen. Igor Pomykalo spielte in meinen Konzerten auf einer Vielzahl von Instrumenten: Fidel, Rebec, Viola da Gamba, Lira da braccio, Lira da gamba, sowie Barockviola. Gäbe es doch mehr solche hochbegabten allround-Musiker heutzutage!"  Prof. Dr. René Clemencic, Wien (10.10.2001)

"His artistic contribution was big enrichment for Tanz Atelier Wien. Igor Pomykalo has a big ability to combine live-music with contemporary dance. We appreciated his concern for the interaction of music and choreography in order to search for ever new expressions within this traditional synthesis. We wish him all the very best for the future."  Sebastian Prantl (Choreograph) and Cecilia Li (Pianistin/Musikalische Konzept), "Tanz Atelier Wien", Wien (18.09.2001)

"Igor Pomykalo is one of my favorite musicians with whome I worked in the past and I like to do in the future. I prefer to work with musicians, who cannot be closed in one stillistic suitcase. They should nor ask if it's classic, folk or jazz music which is played and they love composition as well as improvisation. These musicians should have enough space for their musical contributions and more than that they should be really good friends. All this qualities I can find with igor. Once he is violinist playing medieval fiddle (see his work with Clemencic Consort), once he is busy in playing and exploring the roots of balcany-folk music, or he is turbofiddle(r) Igor playing electronic stuff. He is able to forget musical borders and he is a wonderful friend and I think that is the base to make fine music together."  Walter Valdinho Langer, Österreichischer Gitarrist (World-, Ethno und Jazz- Musik).

 

Di Vittorio incanta la platea - Madrigali e brani di estrazione popolare per il tenore-attore

La serata è da ricordare; il punto di partenza del programma è lo storico manoscritto di Cosimo Bottegari (1574), un'antica fonte di area napoletana. …

Il clima è nuovo, c'è tutta la freschezza di un gusto musicale rinnovato, che trova spazio nei frequenti interludi dei due strumentisti, Igor Pomykalo e Federico Marincola, accompagnatori d'eccezione, e all'occorrenza solisti "virtuosi", rispettivamente impegnati in brani di Orlando di Lasso e Gioan Battista Granata.

Verlardiniello e "Boccuccia de ‘no pierzeco apreturo", dunque s'incontrano con la più raffinata scrittura di "Vezzosette e care pupillette ardenti" di Andrea Falconieri.

Il complesso degli "affetti" è ampio, e lo spettro della gamma espressiva offre ampi spazi a chi sappia coglierli.

De Vittorio insinua la sua maschera espressiva e la sua voce intensa nelle pieghe di una produzione colta e raffinata, col fine intuito di uomo di spettacolo, ma anche con il garbo e la maturità di chi intravede a distanza i pericoli di una recitazione troppo concitata (Concert in Naples, January 2002).