"Better than most other words, sophistication is an apt choice when it comes to characterizing the playing of guitarist Tomas Krakowski. By his technical mastery and a musicality penetrating right to the bone, he makes his instrument sing with a sonorous richness which is downright impressive."
–Jacob Wivel, "Guitar sweets", Jyllandsposten

"It is a pleasure to listen to Tomas Krakowski, not only because he is technically sound, but also because he has both composure and courage to nurse the nuances. Sincere devotion and genuine meditation are his trade marks."
–Børge Friis, "Sincere and genuine are his trade marks", Frederiksborgs Amts Avis

"Tomas Krakowski's command of the guitar holds both elegance, good taste and technical mastery, and his quest for a musical whole seems well-reasoned no matter at which musical layer of a piece he finds himself; and the self-investment in his playing comes across as if it were a necessity of life. Tomas Krakowski is undoubtedly living proof that the gulf between those who can and those who cannot is wider than seen by the naked eye. There are no short cuts to become a good musician–simply world-class."
–Per Nedergaard Hansen, "World-class guitar playing", Herning Folkeblad

"He is able to capture people with his playing. The guitar sounds intense. The sonority speaks to you. […] It is a pleasure to listen to modern music being played properly and interpreted from within. Krakowski is nimble on his strings, and on the whole, he is perfectly sound technically. He plays with a reserve of energy. It is an extra strength that his performances are characterized by an unruffled composure. His fingers and the sonority are led with a musical whole in mind, bringing a sense of harmony to the playing. […] He is mindful of a musical whole and of creating coherence. […] He is a man of real bite and a good deal of fervour, so much the better for the playing."
–Teresa Waskowska, "Guitar playing with a reserve of energy", Politiken

 "The Krakowski concert was like an endless story, in which the guitar was given the chance to demonstrate the maximum width of images, moods and traditions held by the instrument. […] He also proved himself to be a competent performer of the refined scents and jovial folklore of the composers Rodrigo and Granados. Yet, it was first and foremost a pleasure to listen to the execution of the Ib Nørholm sonata, which proved that both performer and instrument are capable of going beyond the limits of euphony and produce bursts of great expression."
–Nils Henrik Ansheim, "An endless story", Stavanger Aftenblad

"Tomas Krakowski has the letters of success written all over him. The Norwegian guitarist has it all in him to make a successful career […]: a lively, innovative musicality, a more than nimble technique and a king size show talent. […] As in the Bach sonata BWV 1003, he gave the audience many intense moments, treating the guitar as delicately as a piece of china and striking the strings as if they were the legs of a fly. At these moments he proved himself to be a bel-esprit rarely encountered, with style and flair and great nuance. […] Above all, Krakowski is no dull musician!"
–Peter Juel Henningsen, "Not boring", Politiken

"It was altogether one of these increasingly rare debut concerts, where a sterling soloist unfolds himself: with both musical and instrumental authority, a well-arranged programme and in Tomas Krakowski's case, also an impressively acute sense of the musical character. The Spanish pieces by de Falla and Albéniz, skilfully transcribed for the guitar by Tomas Krakowski himself, were performed with fervour and bite and so brilliantly as if they were not written for anything else but the guitar."
–Jacob Levinsen, "Bite and bravura", Berlingske Tidende

"Despite the obvious limited volume of the guitar, it was nonetheless a portrait of great and colourful sonority. To frame the three central guitar pieces by Nørholm, Tomas Krakowski used pieces by Poul Rovsing Olsen, Leo Brouwer and Antonio Biblalo. […] By all these solo pieces the guitarist Tomas Krakowski proved his international level…"
–Per Dahl, "Sonorous portrait", Stavanger Aftenblad"

The soloist Krakowski plays with expressive concentration, both sensitively and honestly. He speaks directly through his instrument with a richness of sound. The pulse is constantly resolute and rhythmically elastic to the point of being uncompromising–but without ever being rigid. […] With the Norwegian soprano Bodil Arnesen, he proved a mind and ear for the crucial role of the accompanist which is hardly typical for guitarists. Creativity flourishes in the exchange with the partner, in a continuous give and take of expressive impulses."
–Jan Jacoby, "Fortunate replacement", Politiken

"No matter whether he performed the languishing and popular "Capricho Arabe" by Tarrega, the more modern "Study in Blue" by Antonio Bibalo or accompanied the singer, his playing was technically so brilliant and elegant that all you had to do was to give yourself over. Rarely do you hear a singing guitar of such quality."
–Svein Berg, "Sparkling soprano–brilliant guitarist", Tønsberg Blad

"Seldom have I attended such a, from an artistic point of view, faultless and pleasant chamber concert. […]  Every tone was in the right place with remarkable timbre. No wrong notes or jarring sounds, just simply pure music and spontaneity."
–Ladis Müller, "Sophistication and elegance at the chapel", Smålands Posten

Translated by Ralph Jeffrey Taylor