The Daily News (KATHIMERINI), Saturday, November 29,1997, Art Section.
Art critic : Andreas Rikakis.
Orestes : An outcast of our today’s world.
Isidoros Sideri’s ballet with the dance company “Theatrokinissi”, at the “Megaron”, the Athens Concert Hall. “…That overproduction…is changed by a symphonic composition by the extremely restless I.Metallinos, with references to the Soviet Troika (Prokopieff, Shostakovitsch, and Khachaturian). However the production maintains its own stigma and it soars especially at the “arias” of Clytemnestra’s apparitions…”.
Art Gnosis (Art of Knowledge), Monday, February 23, 1998, Music.
Art critic: G.Leotsakos.
“A Month of Dancing”: Investment in Music. Orestes from the “Dance Theater”.
“…Most of all, what captured our attention was the symphonic composition developed by the intelligent and well educated composer who is endowed not only with sound technical knowledge but with a rich musical-historical knowledge as well. These qualities are rarely found today… The Greek Music Theatre can expect something of great value and substance from I.Metallinos”.
Monday, February 2, 1998, The News, Panorama
Theater commentaries by A WOMAN FROM ZANTE (National Theater Experimental Stage).
“…There, however, what is really invaluable is the musical synthesis by Ioannis Metallinos. The specific composer exhibits remarkable composing and orchestrational skills, exceptional imagination and an enviable sense of styles…”
CHASIS (National Theater Experimental Stage).
“…Metallinos has shown the extensiveness of his musical taste. He uses common, Italian like rhythms, ariettas and tarantellas, producing a sounding world, full of essence…”
Diphono, issue 32, May 1998.
Commentaries by George B. Monemvasitis.
ABOUT GREEK SONGS AND MUSIC.
Ioannis Metallinos, “Mirror of the Earth”. His music develops in a substratum of electrical sounds in which the creator embroiders with a sense of creativity and imagination, woofs of sounds, of natural instruments, sounding like stringed and wind-instruments. Mostly, he develops sounds of which he is especially familiar with. The tone of his synthesis approaches that of neoclassicism but is not subjected to it. Its scholarly character is a given and its instrumental composition through which it is presented reveals knowledge, stability and personality. Finally, they constitute not only the Earth’s Mirror but they depict the creator’s deeper soul as well. Also women’s voices are those that allow the imagination to run-wild. All of them attend to the commands of the myths and the music, with dignity and devotion. Its dramatic intensity is conveyed with confidence as the musical interpretation is presented. The sounds of the voices and those of the instruments are confined quite skillfully by the sound technician Minos Mamagakis...
Tuesday, February 10, 1998, newspaper “ELEFTHEROTIPIA”.
Commentaries by Lambros Liavas. Theatrical Music with inspiration.
His insistence with Greek. Ioannis Metallinos, “Mirror of the Earth”. These music pieces, even though they were written under different circumstances, and for unrelated plays, such as ancient Greek drama, Lorca, for poetry by Solomos and modern theater, they exhibit besides their differences, a similar tone that unites them and places them under the general title of the C.D.: “The Mirror of the Earth”. As Metallinos points out “it’s a type of a personal journal in which his music is the link between his thoughts about love, dreams, time and death!” More impressive however, are the clarity of the musical thought and the composer’s preciseness of his expressions. These are virtues we have been deprived of, by the avant-garde extremities of many new creators in the field of music.
Most importantly, he presents his unique capabilities in orchestration, where he manages to balance with dexterity the use and the combination of voices with the natural instruments and the synthetic sounds (something which is difficult to accomplish and in which many of his well known colleagues have failed). Therefore, his sound, without denying his artistic foundings (which is a product of sound music knowledge), is reused but with modern sounds which are taken from jazz or rock music. He avoids the “labeling” along with the danger of being labeled as an academic. He also shows great sensitivity when using the language.
He uses dimensional sounds from poetic phrases which he integrates in the harmonic environment which instruments usually create.
C.D. Criticism by Argyris Zilos, ATHINORAMA 10-16/4/1998, issue 1122.
“Ioannis Metallinos : Mirror of the Earth, compositions (theatrical dance) and lyric foundings from a creator who knows how to harmonize classical melodious expressions, soft romantic captivation and modern presentation”.
JAZZ ε JAZZ 60, Mars 1998.
Criticism by Tasos D. Anastasiou.
Ioannis Metallinos. A music composer from Xanthi who is not capricious. He doesn’t waste music. Simply, he just transforms it into his first C.D. production: “Mirror of the Earth” (end 1997).
“…Metallinos manoeuvres through different styles. His original and basic influences are of course classical but they touch all, almost all of the twentieth century from Schönberg to Stravinsky as well as Pink Floyd, Hatzidakis and Piazzola…”