What was striking throughout their recital was the profound, almost natural, understanding and empathy that the two performers displayed [with Jacob Portelli, baroque violin]. Theirs was compatibility that does not come easy – throughout there was mutual respect, with Joanne shouldering the onus of responsibility as both accompanist but not shying to come to the fore when it was her responsibility to do so.
Festival Director – June 2019
"It was impressive to note that Joanne managed to capture the subtle difference in style between the German and the French work [harpsichord solos], and her articulation and dexterity was nothing short of commendable"
Festival Director – June 2019
The new harpsichord played an important role in the concert, played beautifully as expected by Joanne Camilleri who also played the organ exceptionally well in Handel’s Concerto in B flat major for Organ and Strings.
Valletta International Baroque Festival – January 2019
After Bach she played Schumann’s Kinderscenen...with insight and naturalness...she came across as being totally in charge; totally in control.
Malta Independent – May 2017
Fresh from her massive undertaking of Bach’s Goldberg Variations, Joanne showed her mettle in an entirely different setting, moving with impeccable ease from one style to the next and never faltering even for a second...Joanne provided a most steady and sound accompaniment [to mezzo soprano Claire Massa].
Festival Director – June 2016
"Hers was one formidable interpretation and did credit to this wonderful work [Bach’s Goldberg Variations]. ...Joanne tackled the undoubted technical difficulties with ease, and she dealt with the music with the respect a seasoned and mature performer does. She sailed through the rippling triplets, the cascading notes, and the frenetic criss-crossing of hands, and tenderly dealt with the quieter variations. The contrapuntal texture was never murky or remotely clouded, articulation was impeccable and phrasing impressive. She breathed with the music and the music responded faithfully."
Festival Director – June 2016
The elegant flow of the performers’ playing remained paramount within the lighter world of the scherzo. ...it was a case of equality between partners that ran throughout the work [Beethoven’s Archduke Trio]
Times of Malta – January 2016
Putting into her performance all her being an insight into this wonderful work [Bach’ Goldberg Variations], she ended up delivering a brilliant performance, the impact of which was reflected in the insistent applause at the end.
Times of Malta – January 2015
Despite that first recording [debut album In Bach’s Footsteps released a year earlier] being an excellent one, this one [Bach’s Goldberg Variations] is in a different league altogether. It is to Camilleri’s credit that a work written almost 300 years ago can still sound fresh and relevant, and yet at the same time still sound like pure Bach.
CD Review by Dr Alex Vella Gregory – September 2014
Articulation was crisp and clear and revealed thorough analysis of the score. Similar qualities, together with fine musical shape, were also noticeable in the execution of the Courante, Bourrees and the particularly delightful Gigue, while elegance, delicacy and depth characterised the Allemande and Sarabande respectively.
She ably brought out the meaning of each part through sound technique and fine musical insight, complementing Vella Gregory’s exploitation of the potential of the piano [world premier of Litanija for solo piano by Alex Vella Gregory]
Times of Malta – June 2014
Alone at the piano, completely exposed and with nobody else but her own resolve, concentration and preparation, this young pianist proved yet again that she keeps going from strength to strength. No wonder connoisseurs rate her as one of the best of her generation we have ... This was illustrated thanks to the touch and depth of feeling of a sensitive performer who leaves nothing to chance.
Sunday Times of Malta – January 2014
Joanne Camilleri combines the secure touch of a seasoned performer thoroughly immersed in Bach's style with an effervescent freshness of spirit able to sustain a level of artistry, concentration, stamina and attention to detail.
Bachtrack – January 2014
In two J. S. Bach Preludes (in B minor, drawn from BWV 855/1 and in G minor after BWV 535) transcribed by Siloti, Joanne Camilleri displayed her characteristically sensitive touch in the former and brilliance and passion in the latter.
The Sunday Times of Malta – December 2012
[Pancho Vladigerov’s Violin and Piano Sonata in D, Op.1] is difficult for both violinist and pianist, requires great skill, deep musicality, high concentration and a solid yet flexible technique indispensable in order to achieve the desired results. They [together with Malta Philharmonic Orchestra leader Marcelline Agius] did and the combination of tenderness and passion with sheer virtuoso brilliance carried all before them.
The Times of Malta – December 2012
Joanne Camilleri projected all the enchanting qualities of Charles Camilleri’s Due Canti. In between these two solos, the performers [together with violinist Jean Noel Attard] were like live-wires packed with an irresistible energy in Brahms’s Sonatensatz.
The Times of Malta – August 2012
Should there have been any doubt that this young lady is one of the leading Maltese pianhists of her generation, it was dispelled with this splendid performance [of Chopin’s E minor Piano Concerto]. It is quite amazing what a lot of force and energy race through the rather diminutive performer’s frame. Yet it is a strength tempered with the utmost tenderness and sensitivity, an assuredly delicate but firm touch and a passion which never runs wild. She is endowed with a technique which remains formidable yet never one at the cost of clarity and articulation or even one indulged in for mere show, but one always at the service of the music. The rapport with the [Malta Philharmonic] orchestra was fine and the work sailed along marvellously with even the most difficult pages made to appear so easy when in fact it is far from that.
