v.K. 15.02.2019 Ekaterina Docheva

..... The Fahrenheit 451 Ballet Suite, is in four parts - Beatty, Mildred, Clarissa and Montag and presents the main actors in the ballet. The dance lives on in this music, saturated with the impressive orchestra ideas of the composer, which sealed the play's dramaturgy - like the glittering clarinets - a signal for existing books to be burned, Beatty's brass characteristic, rhythmic timbre pop rendering of lifeless melody. , a contrasting portrait of Clarice in the lofty lyrics of high strings and different layers of music, with dark and light colors in part four - Montag, sequentially delivered by the conductor and orchestra with the rising finale A fusion of sound in silence. Georgi Minchev's music has the quality to be visible, to introduce the listener quickly, directly into his image system; in this respect, as has been said repeatedly, he is a skilled, virtuoso mediator.

Politika Daily, Belgrade (Serbia), November 08, 1997 Dragisha Savich

“...The Fahrenheit” 451 ballet, which lived up to its world premiere on the stage of the Sofia National Opera was enthusiastically accepted by audience and critics alike. . What I have in mind is a work that impresses with its sound parameters, great expressiveness and exceptional power of content…”

Kultura Weekly, Sofia, November 7, 1997 Manya Popova

“... I wish you were at Sofia Opera hall on Sunday, October 26. The fervent applause after the finale was not simply a demonstration of enthusiasm for a first-time performance. That was an answer and we got it! It was a complete show of very high quality and unusual influence… I know what energy is required to follow the score and to include each and every one of the exceptionally complex elements in the show. As the music of Georgi Minchev is much different from “counting to 4” and very much different from elementary gesticulation. And we know these gestures from many of his symphonic works… And what is the result? It turns out that this ballet score decodes his previous works. With their subject matter, with the humanization of avant-guard devices, or as I would have used the term before – with “overdoing” of avant-gardism…”