REVIEWS

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06.02.2026 Miquel Pujadó, Serra d'Or: "Un piano, unes obres ben triades i una sensibilitat que vagi més enllà de la perfecció tècnica són elements més que suficients per emprendre un viatge musical com el que ens proposa Laura Farré Rozada... un viatge format per peces de compositors de la soferta Armènia... en un diàleg que ens permet conèixer temes molt interessants i copsar-ne la influència en la música occidental. Des de la senzillesa lluminosa de "I am a girl" (Komitas) fins a "The butterfly effect", obra d'Ofer Ben-Amots inspirada en elements matemàtics i dedicada a la pianista, passant per peces basades en el folklore, pel virtuosisme de Dimitar Nenov i per moltes altres estètiques i estils, aquest àlbum, format per vint temes i enregistrat per l'indispensable Albert Moraleda en el seu estudi, és tota una descoberta. En acabar l'audició, no he pogut evitar pensar que a l'enyorat Charles Aznavour(ian) i al seu secretari i amic Levon Sayan els hauria emocionat escoltar-lo. [A piano, well-chosen works and a sensitivity that goes beyond technical perfection are more than enough elements to embark on a musical journey like the one Laura Farré Rozada proposes to us... a journey formed by pieces by composers from the suffering Armenia... in a dialogue that allows us to learn about very interesting themes and grasp their influence on Western music. From the luminous simplicity of "I am a girl" (Komitas) to "The butterfly effect", a work by Ofer Ben-Amots inspired by mathematical elements and dedicated to the pianist, through pieces based on folklore, the virtuosity of Dimitar Nenov and many other aesthetics and styles, this album, formed by twenty songs and recorded by the indispensable Albert Moraleda in his studio, is a real discovery. At the end of the audition, I couldn't help but think that the long-lost Charles Aznavour(ian) and his secretary and friend Levon Sayan would have been thrilled to listen to it.]"

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15.01.2026 Manuel Pacheco, Melómano: "La manera más eficaz de describir el ‘buen gusto’ (¡qué noción tan imprecisa!) es señalándolo, ejemplificándolo. Uno se encuentra ante recitales perfectamente ejecutados o grabaciones impecables en los que, sin embargo, permanece ausente ese valor añadido, tan subjetivo como reconocible. Comienzo por este sitio tan complicado para señalar que el nuevo proyecto de Laura Farré no es solo una puerta de entrada fascinante al patrimonio musical armenio, con muestras de la diversidad e historia del país —el genocidio y la diáspora armenia están en primer plano—, sino que contiene también un repertorio confeccionado con un criterio excelente. El carácter nostálgico de las melodías de inspiración popular, los ritmos arrebatados y las armonías características de esta tradición están representados en una selección de obras delicadas y complejas, y que la pianista aborda en versiones cristalinas y cargadas de matices... Desde las miniaturas folclóricas de Komitas y Alexander Spendiaryan a la escritura colorida de Arno Babadjanian, figuras clave también en los ámbitos musicológico, sinfónico e interpretativo del país, el disco traza una descripción evocadora de la música armenia y sus satélites desde finales del siglo XIX hasta la actualidad —la Toccata del búlgaro Dimitar Nenov y la Sonata en Mi bemol menor del ruso Alexei Stanchinski son dos de los momentos más impresionantes del álbum, tanto por las propias obras como por la energía que desprende Farré—. La obra de compositoras está representada con los exquisitos Preludios de Gayane Chebotarian y Wingless de Tatev Amiryan; por su parte, la emigración armenia a Estados Unidos se aborda con dos piezas del prolífico Alan Hovhaness y un encargo a Ofer Ben-Amots que sirve de lucimiento para el toque ligero y definido de la pianista. Las piezas de Pour le piano de Debussy, abordadas de manera ejemplar por la intérprete, trazan finalmente el puente con la tradición occidental para completar todas las aristas de este profundo y complejo retrato de la música de Armenia. [The most effective way to describe ‘good taste’ (what an imprecise notion!) is by pointing it out, by exemplifying it. One encounters perfectly executed recitals or impeccable recordings in which, nevertheless, that added value, as subjective as it is recognizable, remains absent. I begin with this rather complicated point to note that Laura Farré’s new project is not only a fascinating gateway to Armenian musical heritage, showcasing the country’s diversity and history—the Armenian genocide and diaspora are front and center—but also contains a repertoire crafted with excellent judgment. The nostalgic character of the folk-inspired melodies, the captivating rhythms, and the characteristic harmonies of this tradition are represented in a selection of delicate and complex works, which the pianist performs in crystalline and nuanced versions… From the folk miniatures of Komitas and Alexander Spendiaryan to the colorful writing of Arno Babadjanian—key figures in the country's musicological, symphonic, and performance fields—the album traces an evocative overview of Armenian music and its related genres from the late 19th century to the present day. The Toccata by Bulgarian composer Dimitar Nenov and the Sonata in E-flat minor by Russian composer Alexei Stanchinski are two of the album's most impressive moments, both for the works themselves and for the energy Farré exudes. The work of female composers is represented by the exquisite Preludes by Gayane Chebotarian and Wingless by Tatev Amiryan. Meanwhile, Armenian emigration to the United States is addressed with two pieces by the prolific Alan Hovhaness and a commission from Ofer Ben-Amots that showcases the pianist's light and precise touch. The pieces from Debussy's Pour le piano, performed in an exemplary manner by the interpreter, finally bridge the gap with the Western tradition to complete all the facets of this profound and complex portrait of Armenian music.]"

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07.12.2025 Pep Gorgori, L'hora clàssica, Ràdio 4 RNE: "Tots els discos de Laura Farré Rozada són molt interessants, perquè són tots ells sorprenents, i sempre acabes descobrint algun compositor o alguna compositora que no coneixies, i que si el coneixies no coneixies aquella obra, i que si coneixies el compositor i l’obra, no se t’hauria acudit mai veure-la al costat de segons quines altres coses. [All of Laura Farré Rozada's albums are very interesting, because they are all surprising, and you always end up discovering a composer that you didn't know, and that if you knew him you wouldn't know that work, and that if you knew the composer and the work, it would never have occurred to you to see it next to various other things.]"

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07.12.2025 Marga Lluch, L'hora clàssica, Ràdio 4 RNE: "Parlem de Laura Farré Rozada, una de les veus més singulars de la nova generació d’intèrprets catalanes. [Let's talk about Laura Farré Rozada, one of the most unique voices of the new generation of Catalan performers.]"

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29.11.2025 Carme Miró, Sonograma: "Araspel és una d’aquelles poques obres en què la interpretació, la recerca i la poesia sonora conflueixen amb naturalitat. El projecte pren com a punt de partida la música armènia i la seva diàspora per establir un diàleg amb altres tradicions europees, tot traçant una cartografia sonora de la memòria i la identitat. Tanmateix, no es tracta d’un exercici de reconstrucció històrica, sinó d’una proposta viva i contemporània sobre com el passat pot dialogar amb el present a través del llenguatge pianístic... Laura Farré Rozada no persegueix el virtuosisme ni l’efectisme, sinó la intel·ligència sonora, la claredat estructural i la profunditat expressiva. El seu fraseig, d’una exactitud gairebé arquitectònica, mai no resulta mecànic; al contrari, hi ha una humanitat continguda en cada gest i en cada respir. El so, proper i càlid, enregistrat amb una proximitat que afavoreix l’escolta íntima, consolida la percepció de Laura Farré Rozada com una de les artistes més originals, rigoroses i reflexives de la seva generació. [Araspel is one of those few works in which interpretation, research and sound poetry come together naturally. The project takes Armenian music and its diaspora as its starting point to establish a dialogue with other European traditions, tracing a sound cartography of memory and identity. However, it is not an exercise in historical reconstruction, but a lively and contemporary proposal on how the past can dialogue with the present through the language of the piano... Laura Farré Rozada does not pursue virtuosity or effect, but rather sonic intelligence, structural clarity and expressive depth. Her phrasing, with an almost architectural accuracy, never comes across as mechanical; on the contrary, there is a humanity contained in every gesture and every breath. The sound, close and warm, recorded with a proximity that favors intimate listening, consolidates the perception of Laura Farré Rozada as one of the most original, rigorous and reflective artists of her generation.]"

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17.11.2025 Martín Pinillos Sáenz, 1/2 Tono: "Araspel es el tercer álbum de la aclamada pianista Laura Farré Rozada donde demuestra la capacidad casi camaleónica de reinventarse...  Laura Farré Rozada demuestra a través de este disco que la complejidad técnica y la expresividad, no solo pueden, sino que deben ir de la mano para explorar nuevas cotas artísticas. Con Araspel, tercer CD dentro de su ya completo catálogo, la pianista visita compositores menos difundidos junto al canónico Debussy, eliminando cualquier jerarquía implícita y ampliando el mapa sonoro contemporáneo. Gracias a discos como Araspel nuestros auditorios, equipos de sonido o plataformas de streaming suman un color más en el caleidoscopio musical que, cada día, se vuelve más complejo y a su vez más apasionante. [Araspel is the third album by acclaimed pianist Laura Farré Rozada, where she demonstrates her almost chameleon-like ability to reinvent herself. With this album, Laura Farré Rozada proves that technical complexity and expressiveness not only can, but must, go hand in hand to explore new artistic heights. In Araspel, the third CD in her already extensive catalog, the pianist revisits lesser-known composers alongside the canonical Debussy, eliminating any implicit hierarchy and expanding the contemporary soundscape. Thanks to albums like Araspel, our concert halls, sound systems, and streaming platforms add another color to the musical kaleidoscope that grows more complex and, at the same time, more captivating every day.]"

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07.11.2025 Javier Losilla, El Periódico de Aragón: "Laura Farré Rozada es matemática y pianista, y una lumbrera en ambas especialidades. 'Araspel' (Edicions Albert Moraleda), leyenda, en armenio, es su tercer álbum, y en él se adentra en el universo de los compositores armenios, ya fallecidos prácticamente todos ellos, tanto en el sendero de la música clásica como en el del folclore. Una singular interpretación, alejada del canon, de 'Pour le piano', de Debussy, y una extraordinaria pieza de encargo, firmada por Ofer Ben-Amots, muy apropiadamente titulada 'The Butterfly Effect' (el efecto mariposa es un concepto de la Teoría del Caos) completan el repertorio. Todo el álbum es una delicia (debo destacar, además de las mencionadas, las escrituras de Gayane Chebotarian, Tatev Amiryan y Alan Hovhaness), pero no solo por la calidad de la música: Laura Farré aborda las piezas de tal forma que las voces de piano ofrecen nuevas y sugerentes perspectivas de las partituras. 'Araspel', tiene su base en Armenia, sí, pero su altura trasciende latitudes. Lo de la mariposa, vaya: pulsa una tecla en el Cáucaso y suena una canción en los Campos Elíseos. Excelente. [Laura Farré Rozada is a mathematician and pianist, and a luminary in both fields. 'Araspel' (Edicions Albert Moraleda), meaning legend in Armenian, is her third album, in which she delves into the universe of Armenian composers, almost all of whom are now deceased, exploring both classical and folk music. A unique, unconventional interpretation of Debussy's 'Pour le piano' and an extraordinary commissioned piece by Ofer Ben-Amots, aptly titled 'The Butterfly Effect' (the butterfly effect being a concept from Chaos Theory), complete the repertoire. The entire album is a delight (I must highlight, in addition to those already mentioned, the writing of Gayane Chebotarian, Tatev Amiryan, and Alan Hovhaness), but not only for the quality of the music: Laura Farré approaches the pieces in such a way that the piano voices offer new and evocative perspectives on the scores. 'Araspel' is based in Armenia, yes, but its scope transcends latitudes. The butterfly metaphor: press a key in the Caucasus and a song plays on the Champs-Élysées. Excellent.]

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01.11.2025 Joan Isart, Serra d'Or: "Farré Rozada teixeix un discurs sonor que pretén transmetre l’essència d’aquest país llegendari, conegut internacionalment per ser el primer a adoptar el cristianisme com a religió oficial, tenir els escacs com a esport nacional, però també per patir el primer genocidi del segle XX. [Farré Rozada weaves a sound discourse that aims to convey the essence of this legendary country, known internationally for being the first to adopt Christianity as an official religion, having chess as a national sport, but also for suffering the first genocide of the 20th century.]"

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31.10.2025 Meritxell Tena, Núvol-Castafiore: "La pianista i matemàtica presenta 'Araspel', una magnètica descoberta del patrimoni musical armeni... el seu tercer CD, centrat en l’herència musical d’Armènia, un poble històricament maltractat pel genocidi, la diàspora i la indiferència del món davant tanta violència. Les sonoritats d’arrel tradicional, el vincle del pare de la música armènia -el pioner de l’etnomusicologia i compositor Komitas– amb Debussy, la influència de la música litúrgica i la defensa del repertori contemporani (Farré Rozada ha encarregat una obra inspirada en les matemàtiques al compositor Ofer Ben-Amots) es troben en una història de supervivència i de recerca de la identitat. [The pianist and mathematician presents 'Araspel', a magnetic discovery of Armenian musical heritage... her third CD, focused on the musical heritage of Armenia, a people historically mistreated by genocide, diaspora and the world's indifference to so much violence. The traditional sonorities, the link between the father of Armenian music - the pioneer of ethnomusicology and composer Komitas - and Debussy, the influence of liturgical music and the defense of contemporary repertoire (Farré Rozada has commissioned a work inspired by mathematics from the composer Ofer Ben-Amots) are found in a story of survival and the search for identity.]"

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23.10.2025 Dr Caroline Potter, scholar: "Enjoying Laura Farré Rozada's 'Araspel' (Armenian: Legend), especially Alexei Stanchinsky's Sonata in E flat minor (wow), Ofer Ben-Amots' Butterfly Effect and (because I'm in unusually sentimental mood) Komitas' I am a Girl."

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19.10.2025 Rihards Plešanovs, Latvian pianist (Latvian Radio 3 "Klasika" show "Ear of the Orpheus"): "Ben-Amots' work has a really interesting and colorful texture. I was waiting for those explosions to be performed in a more pronounced way, but it was done really gently. However this composition made the listening of this whole album somehow easier, and as a pianist I easier reached the message of the album... Tatev Amiryan's composition "Wingless" is very fresh, and when performed by Laura sounds natural and appealing... I feel it how Laura calculates the music she plays, I feel her pulsing along with it... On her webpage one can also enrich their knowledge – the list of composers she's encountered and the repertoire is really interesting. There is a small amount of mainstream authors and a lot of appealing music. The word "accuracy" that George Crumb used really suits Laura's approach."

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19.10.2025 Aleksandra Line, Latvian music manager, poet, journalist (Latvian Radio 3 "Klasika" show "Ear of the Orpheus"): "Laura has absolutely done a significant work of a musicologist – we can see this album as an encyclopaedic achievement."

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19.10.2025 Orests Silabriedis, Latvian musicologist, journalist, concert hall art director (Latvian Radio 3 "Klasika" show "Ear of the Orpheus"): "Sometimes it seems to me that Laura's mathematical side dominates over the musical one, but it seems like Laura has a balanced view of the world and as harmonically as possible talks about the ways how we can make the world a bit more meaningful with what we do... Gayane Chebotarian's work touched me a lot, and it seems that when performing her compositions Laura grew tiny wings, too... I would definitely advise the listener pay attention to the composers at least for the sake of encyclopaedic knowledge. We don't encounter such a non-traditional approach and wide interest towards the world around us very often... Laura actually keeps whirling a very active music in a very combative mood, and I guess that probably her idea was being a drill of sorts that crushes something we have to get rid of. Probably this is the effect she desired to achieve, and in my case definitely achieved it."

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05.10.2025 Pablo J. Vayón, Diario de Sevilla: "Farré Rozada explica el origen del disco [Araspel] con la precisión de quien ha trabajado con datos y números y con la emoción de quien se ha dejado atravesar por una cultura... [Farré Rozada explains the origin of the album [Araspel] with the precision of someone who has worked with data and numbers, and with the emotion of someone who has been deeply affected by a culture...]"

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