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New York Times,  April 2013, Roulette

"Calls from the fog" was more austere, starting with a plangent voice from the flutist Roy Amotz that was answered by an echoing electronic drone. They continued on together, Mr. Amotz playing with piercing focus at the top of the instrument 's range and alluring smokiness in his low notes. He met the score's daunting demands for multiphonics, in which special berating and fingerings allow the flute to sound more than one tone at the same time, before broadening near the end into an elegantly, traditionally lyrical line."


Le temps, Geneva, November  2013, Victoria Hall

 "The most beautiful thing? The duet between Emmanuel Pahud and Roy Amotz, the solo-flutist of the Geneva Camerata in "the scene of Champs-Elysées" from  Orpheus by Gluck. The delicacy of sounds, merging together with the subtile playing is wonderful."

The Hickman concert blog, March 2013, Recital in  Jerusalem

"Roy Amotz’ playing showed that these works were indeed a celebration of the technical and expressive qualities and tonal colors available to the more gregarious transverse flute. Amotz’ uniquely large palette of timbres, fantasy and expression (including some dark, solidly-anchored sounds distinctive to his specific musical palette) served him well in the performance of this remarkable piece. Amotz’ pacing gives the work a sense of broad timelessness; he weaves its lush sensuousness with intensity, rendering the piece’s beguiling and dreamy lyricism as gripping and mysterious as ever! Through their full-bodied signature sound and close collaboration, the artists have much to say about the repertoire they play. Their performance was one of interest, delight and excellence, and it spoke to the senses."


Stuttgarter Zeitung, September 2013,  Concert series of the Vocal Solisten

"(...) The phenomenal flutist Roy amotz gave a breath taking performance of the piece "Aria" by Helena Winkelman."

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