“Bravo! Beautiful! Very dramatic and a tremendous performance. Sounds orchestral, just as I imagined it, and the timing is wonderful all the way. Very poetic. You were born for this kind of piece [Makrokosmos], for your accuracy and the dynamics, especially for the way you handle them.” George Crumb - Composer.
“A most impressive recital! Some really dynamic and compelling playing. The Escaich was a tour-de-force: you kept up the excitement level in a truly spectacular way.” Tim Gill - Principal Cello at the London Sinfonietta.
“Laura Farré Rozada's album The French Reverie, on the Albert Moraleda label, could serve as a model for young artists making their recording debuts.” Phillip Sommerich - Classical Music Magazine.
“A strong performance from the start, adhering to all the details, and bringing out the virtuosity of the player and composer!”
Mei Yi Foo - Concert Pianist & Recording Artist.
“An extremely impressive feat of memory and a recital of enormous range. Elements of theatricality were well converged and the artistic command was as convincing in the virtuosic music as it was in the more intimate and spacious music.”
Ian Jones - Deputy Head of Keyboard, Piano Professor & Fellow at the Royal College of Music, London (UK).
“A guest of the composition, theory, and piano department, Ms. Rozada's performance was part of a two-day residency, including a talk to the school's composers about mathematics and music the following morning. A formidable pianist, Rozada is also a university-trained mathematician, with a keen ear to discovering patterns in music, and bringing them out in her performance. As part of Rozada's ambitious tour of schools and venues in the US and Canada, she performed her recital A French Reverie, a program ranging in sweep and style from Messiaen's early Prelude No. 8 Un reflet dans le vent to a La vehemència del despertar by Joel Järventausta a fascinating work by promising young Finnish composer currently working in London, with whom Rozada has already collaborated on several projects, including Järventausta's Piano Concerto. In contrast to Rozada's delicate, almost vocal treatment of the inner voices of the Messiaen's Prelude, her approach to Philippe Manoury's Toccata (a US premiere, as several other works on the program), based on fractals, was powerful, incisive, and relentless. One could hear, and visually imagine fractals spinning out endlessly from the constantly repeated Eb (above middle C), which formed the point of origin. Rozada ought out the mournful nuances of Israeli composer Ofer Ben-Amots' Akëda a work commemorating Holocaust victims, and based on the Jewish prayer 'El Maleh Rakhamim'. Henri Dutilleux's scintillating Sonata formed the climax of the program. This Op. 1 was the first work Dutilleux was satisfied to contain in his catalog, though it was written when the composer was already 30 years old. Rich with chords redolent of Messiaen and Poulenc, Rozada's fierce technique brought out the motoric toccata of the last movement. Thierry Escaich's highly virtuosic Jeux de doubles, based on a Baroque dance, and Bulgarian composer Vladimir Djambazov's 33:8, an exploration of Bulgarian themes and rhythms, rounded out Rozada's thrilling program. I look forward to hearing her future projects of similarly premiering new works and rediscovering older ones.” Ketty Nez - Associate Professor of Music, Composition and Music Theory, Boston University, Boston (USA).
“This time the concert [Robert Gerhard's Piano Concerto] had a brilliant soloist, the young pianist Laura Farré Rozada, with good experience in contemporary music.”
Jorge de Persia - La Vanguardia.
“An example of what can be done when there are talent and enthusiasm. We listen to the album [The French Reverie] and the expectations are fulfilled in full because it is sounding stimulating music, which conveys enthusiasm and surprise.”
Jordi Martí Fabra - 440 Clàssica Magazine.
“A precious record [The French Reverie] for the selection of contemporary works, excellently interpreted and at the same time very interesting, with an added bonus, that Laura Farré Rozada knows the composers and has been able to develop an interpretation guided by the creators themselves. This gives an extraordinary bonus.”
Joan Vives - 'Tots els matins del món', Catalunya Música Radio.
“Virtuosity, like the one achieved in the last movement of the Sonata, dominance of colour, such as the one presented in Un reflet dans le vent by Messiaen or the apparent chaotic universe of Manoury's Toccata, allow us to capture a part of the great interpretative aspects of Laura: impeccable technique, mastery of loudness, a detailed calculation of the balance of dynamics and intensity of volumes, all at the service of carefully selected compositions...Diametrically opposed works of character in which Laura Farré Rozada shows in both an unquestionable pianistic talent.”
Lluís Trullén - Revista Musical Catalana.
“The music runs the full gamut of expression from poignant tenderness to jaw-dropping virtuosity, and how refreshing to find this all evident in composers that are not household names.”
Abe Minzer - Classically Alive Series.
“Laura Farré Rozada exhibited Gerhard's concert with brilliance and maximum neatness. She was very inspirational, showing the deep knowledge and the great qualities to interpret contemporary music and his concern to publicize the music of the 20th century. The reading that she did at any moment was superficial, making with the piano sonority and timbric chords very suitable for each passage. Always counting on the enthusiastic collaboration of the conductor and orchestral instrumentalists on pages that were very difficult for everyone... A memorable concert: in fact, one of the best we've heard recently, and that the audience appreciated with strong applause.”
Roman Galimany - Nits de Clàssics.