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Dominique Boutel sees in Makrokosmos clearly an influence of Chopin and Schumann with their inseparable melancholy and fantasy. The work demands a lot from the pianist. It must intervene in the instrument itself by sliding glasses on the strings or rubbing them with the hand or objects. In addition, he is led to sing, chant, whisper, whistle, express himself physically otherwise than by his simple fingers. He must be more than a pianist. Stephanos Thomopoulos holds this role masterfully. He is an alchemist whose specimen is the piano, the ingredients the scores, the objects the powders and the voice the breath of the incantation. All this demands perfect mastery. Moving, stretching in the instrument, pinching the strings, turning back, sitting to stroke the keys give a fairly accurate insight into the complexity of the score. But in addition to being an alchemist Stephanos Thomopoulos becomes the priest officiating at the altar. With his gaze fixed on the Presence, he gives to see and hear what he alone can bring about. The spectator passes, without necessarily knowing it, from listener to member of a spiritual community. The recitative of Thomopoulos in the last piece of Makrokosmos, Agnus Dei, allows everyone to find peace, his own peace. Magistral.

Marc Pagnier about the Makrokosmos by George Crumb at the Voyage Surprise of the Printemps des Arts de Monte Carlo, http://www.theprovenceherald.fr/voyage-surprise/ March 23, 2017

...the excellent response of Thomopoulos to the ever demanding piano writing of Rachmaninov was highly appreciated ...

... The simplicity and purity of this interpretation, characterized by the narration of the first violin (Sousamoglou), the intensity and drama - in the shattering Intermezzo! - of the piano of Thomopoulos, the controlled roughness and noble feeling (especially in Kokolani's interventions), the good sense of rhythm and dialogue, have done justice to this score, thus highlighting its depth and its just expressive mark ...

 

Evtychios Choriatakis, Athinorama 24/2/2017, about the concert with the Kyklos Ensemble at the Megaron in Athens (Rachmaninov's Trio Elegiaque and D.Chostakovitch's Piano Quintet)

During this hour and a half of technically challenging music, Thomopoulos never gives up and shows great concentration, energy and refinement.

Cinzia Rota, Classicagenda.fr 20/09/2017 about the recital at the Royaumont Festival the 3/09/2016

...Thomopoulos presents excellent readings of Xenakis’ four mature piano works: Herma, Evryali, Mists and A.R. I thought I heard a piano string snapping at a climactic point in Herma, but there are a few other snaps, pointing to hot levels during the recording. The sound is otherwise clear and full. 

James Harley - Septembre 2015 - Toronto - The Whole Note Magazine

... The meticulousness of Stephanos Thomopoulos, former student of Jacques Rouvier and Marie-Françoise Bucquet, supports every nuance, each color of this "symbolic music" ...

... the young performer shows remarkable precision, endurance, readability. He goes even further than Helffer ...

Bertrand Boissard, 27-6-2015, Timpani Xenakis CD Critic in Diapason Magazine (4 diapasons) 

The concertino of the artistic director of the Kyklos Ensemble possessed all the attributes that characterize the work of G. Koumendakis, seductive details and intense, dynamic and imaginative developments, with Stephanos Thomopoulos being indeed impressive as a soloist, if it isn't stealing the spotlight.

Thanos Mantzanas, Athènes 2-3-2015

http://www.musicpaper.gr/we-saw/item/6139-eidame-kyklos-ensemble-sgt