“Antonio Galera, fundamental artist of the current Valencian keyboard, was the necessary collaborator in a work that went beyond the mere accompanist. With his ductility and precise musical sense, he illuminated the dynamics and setting of each lied.”.
José Domenech Part, Levante-EMV, December 2022
“Yesterday, at the Teatro Jovellanos, a few of those magic pills broke the silence (…) thanks to the artistic ease of the writer Elvira Lindo and the pianist Antonio Galera. Both got on the tables of the crowded Gijón coliseum to offer an unusual proposal on stage due to its format, to its objective and for being suitable for any age and, at the same time, for being a true pleasure to see and hear.”.
Ana Ranera, El Comercio, February 2022
“Antonio Galera (…) showed his class especially in those moments that Schumann reserves for the piano, above all, and as it could not be less, in the great postlude that Dichterliebe closes”.
Luis Suñén, Scherzo, December 2021
“Prélude is a magnificent musical business card. We will have to remember the name of this pianist with a strong personality”.
Jean Pierre Tribot, Crescendo Magazine, August 2020
“A different album. A voice with its own personality”.
Santiago Martín Bermúdez, Scherzo, June 2020
“Prélude is a good album that is worth listening to calmly because it allows us to appreciate the dimension of a very interesting pianist, with technical and expressive skills, character and a beautiful sound.”.
Álvaro Menéndez Granda, Espacio Arezzo, February 2020
“With rigor and previous reflection, Galera manages to make us enjoy the great harmonies with a perfectly articulated way of playing with great sonorous refinement and dynamic range, managing to replicate that strange mixture of calm and ecstasy.”.
Luis Suárez, Tarracos Culture Club, December 2019
“From the collection of the first notes, the technical mastery and acute sensitivity of the pianist from Picanya is recognized. He displays intensity, without falling into exhibitionism, with César Frank, and reserves inexhaustible colors and nuances for Debussy”.
Jorge de Frutos, BEAT, October 2019
“The fine and refined artist that is Antonio Galera emerged in a subtle, free, very personal, nuanced and risky reading of the first book of Debussy’s Preludes (…) He managed to communicate with the public even before beginning his performance, when sitting before the piano waited with as much authority as temperament for the room to generate the absolute silence that any great performance requires. He made it clear from the very beginning that he was going to make real music. In that atmosphere of recollection and attention he attacked the slow and grave beginning of Danseuses de Delphes. And he kept the degree of concentration unscathed until the final two very strong chords of the nervous and humorous Minstrels.
Galera meticulously unraveled the inexhaustible colors, registers and sounds that accumulate in each of the twelve preludes (…) an always outstanding performance”.
Justo Romero, Levante-EMV, December 2018
“An imposing, passionate and always tasteful interpretation, achieving the desired neatness in sound, and demonstrating why it is one of the promises of the national piano scene”.
Inés Tartiere, Codalario, May2017
“(…) It had as soloist the young Valencian pianist Antonio Galera, already a firm promise of Spanish pianism. On Friday we appreciated through Falla a balanced and tasteful interpreter, always looking for an impeccable sound”.
Diana Díaz, La Nueva España, April 2017
“At the piano, Antonio Galera has shown an intense sensitivity as a performer”.
Giancarlo Andreolli, Libertà (Italia), March 2017
“Antonio is an artist-pianist in his tone production, exploiting a wide range of dynamic colours according to the musical narrative. For me the ability to engage the audience on a journey through topography of various soundscapes is a sign of a true artist. In this regard, Antonio is an especially refined tone poet on the piano – a rare breed these days indeed!”.
John Ross, director artístico (1988-2012) UNISA Competitions South Africa, February 2017
“From the first note it was obvious that we were listening to not only a talented pianist but also a highly musical performer”.
Johanna Wicherek, Groccots Mail, Grahamstown (South Africa), February 2017
“The Valencian Antonio Galera has confirmed in his last recital at the Palau de la Música (…) his high artistic and pianistic category. And he did it with an ambitious and committed program, crowned with that monument to sensitivity that is Schubert’s long last sonata, the D960, in B flat Major, which filled the second part of the program (…).
Only a humanly and pianistically seasoned artist can succeed in the immense challenge of delving into Schubert’s last sonata. An immense and profound work, charged with expressive and emotional demands, requires a performer endowed with both pianistic strength and the means to solve his technical intricacies. From the first and simple moments of the Molto moderato that so tenuously opens it, the intimate expressive intensity of a version that allowed itself to appear and was recreated in the thousand and one worlds, colors and moods that populate the immense sonata was strongly perceived. There was naturalness, freshness, sincerity, depth, drama and popular sense. All recreated from a rigorous and finely crafted pianism, rich in sound registers and carefully calibrated and managed dynamics in its breadth. Admirable version.
Earlier, in Debussy’s Preludes, Galera showed off his French training and curated a select sample of the piano’s prodigious ability to generate colours, timbres and the most sophisticated resonances and sounds. The success was enormous, to which his brilliant and extroverted version of Granados’ Allegro de concierto contributed. Three tips of Chopin, Falla and Haydn were the culmination of one of the best recitals of the Valencian season”.
Justo Romero, Scherzo, February 2017
“Therein resides the mysterious perfume given off by these pentagrams that Galera displayed with generosity, with the mastery that his technical mastery and his exquisite sensitivity as an artist give him”.
José Doménech, Levante EMV, December 2016
“(…) we could be amazed at an anthological synchronization between them. Proof that true onstage delivery overcomes all barriers”.
Recital con la violoncelista Iris Azquinezer, Marta Espinós para LOOTRO, September 2016
“The great winner in the program dedicated to American music was Antonio Galera, who in the Gershwin Concert demonstrated a peculiar suitability for swing and a sense of timing so that jazz spontaneity neither triumphed over the classical tradition (…) nor was it buried under the weight of this”.
Alfredo Brotons, Scherzo, July 2016
“Antonio Galera has made the leap from promise to reality with a Concerto in G by Ravel that the orchestra proved to be very fresh and in which he shone with a combination of technical confidence and expressive musicality”.
Alfredo Brotons, Levante EMV, June 2015