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There was a large audience at the Diodetian Theatre in Lanciano to applaud Albert Roman's masterly interpretation of Bach's Suite No. 2 in D minor, Penderecki's Capriccio for Siegfried Palm and Kodàly's Cello Sonata op. 8.
Il Tempo d'Abruzzo

In J. S. Bach's Cello Suite No. 4 and the Sonata for unaccompanied cello by Kodàly, Albert Roman displayed remarkable control, imagination, artistic perception and instinctive aesthetic judgement. Through his performance, Roman made his listeners feel that he was not just an excellent cellist but that he also possessed all the qualities needed to make an excellent orchestra conductor.
Le Dauphiné Liberé, Annecy

The interpretation of the Six Suites for unaccompanied cello by J. S. Bach makes high demands upon a cellist. Albert Roman's playing was admirably matched to these demands. This was already apparent in the first of two concerts at St. Martin's Church in Basel, where he performed Suites Nos. 1, 3, and 5. The order of the works in Roman's programme created a logical progression climaxing in the majestic Suite in C minor. The rich variety of stylised dance forms was clearly demonstrated, with the Sarabandes forming a tranquil centre of each one. The performance contained all shades of dynamic and agogic nuances and accents, without ever losing the perspective of the whole.
Basler Zeitung

Albert Roman deservedly received enthusiastic applause for his performance of Darius Milhaud's entertaining cello concerto, in which he displayed charm and superb technique. He was ably accompanied by the Bem Symphony Orchestra under the baton of Peter Maag.
Berner Zeitung

It was the sensitivity of the cellist Albert Roman that made his evening concert in the Bern Cathedral particularly impressive.The intelligently phrased and subtly modulated performance of Henry Eccles' G minor sonata and his playing of Bach's fifth solo suite. He was particularly successful in the seemingly never-ending cantilene of Messiaen's ,,Louange à l'éternité de Jésus", which he played with the utmost concentration.
Der Bund, Bern

The cellist Albert Roman filled the atrium of the Indiana University Art Museum with sounds of Bach. He is an artist in his own right who brought to the austere, abstract, rhythmically and melodically intricate suites for unaccompanied cello a sheen, purity of tone, flow of line, and smoothness of production. We look forward to hearing the next three suites followed next Sunday. My goodness, he played all those notes without score. Such immersion.
The Herald Times, Bloomington (USA)

The warmth and delicacy of Roman's lyric rendering of the ,,Phantasiestücke" by Schumann shows that - unlike many artists - he is able to grasp and divulge the secret that a work of music holds and thereby capture our attention.
L'écho Rèpublicain, Chartres

From the first note of the fifth suite by Bach he played in Chartres Cathedral, Albert Roman impressed the audience. This is a bow which breathes music, which darts about with the greatest agility and makes the strings sing finely and elegantly, while the left hand skilfully masters the most difficult positions. Allemands, Courantes, Gavottes, Sarabandes succeeded one another with consummate ease and crystalline clarity.
La République du Centre, Chartres

A high degree of abstraction in a piece of music can fire the imagination of those who are gifted in that particular direction. This was impressively demonstrated by Albert Roman's rendering of Bach's Suite in C major. The accents, progressions, and dynamic suppleness were employed boldly but meaningfully to make the apparent simultaneity of the different voices audible and to accentuate essential structural elements. Here, Roman's precise and refined technique was of particular advantage. The performance of the Debussy Sonata was the climax of the ensemble playing. The elusive magic of this work was most convincingly evoked by the particles of colour which emerged with ethereal lightness, the strong yet fluent sforzandi moulded by the cello into a hazy tapestry of sound, and the flexibility of the performers in their response to the slightest change of nuance.
Frankfurter Allgemeine Zeitung

In his concert with the ,German Youth Philharmonic", Albert Roman convinced in the slow movements of Vivaldi's cello concerto by generous phrasing and concentrated beauty of sound. The quick movements, however, were full of temperament and virtuoso refinement.
Frankfurter Rundschau

Boccherini's Sonata is an admirable vehicle, and Albert Roman played it excellently and with great refinement, revealing the intelligence and charm of a work not lacking in originality. His technique is excellent, his sounds of great warmth and beautiful singing quality. His playing is intense while remaining untainted by affectation.
Journal de Genève

From the first note Albert Roman impressed the audience with his impeccable musicality. His playing is modern: he adds no unnecessary frills or false gestures and simply allows the instrument to sing. With the greatest ease he started the evening with Boccherini's virtuoso Sonata in A major. After a long downbow, he continued with superb spiccati. His technique serves the music as a means to an end. Thus Roman is able to present his own, fully thought out concept of a composition. His mastery was evident in Schumann's ,,Stücke im Volkston" and above all in Beethoven's Sonata in A major, which he succeeded in performing with great structural tension and vitality.
Die Welt, Hamburg

The centrepiece of the evening was Schumann's cello concerto in A minor. Albert Roman, the soloist, is a top quality performer. With great sensitivity, impeccable technique and considerable energy, he highlighted the themes and then allowed them to fade away again, surrendering himself to the unceasing flows of melody, harmony and rhythm. Mr. Roman was not afraid of virtuosity. But that alone would not have been sufficient for this concerto. lt demands great expressiveness as well as rhetorical playing, and Albert Roman rose to the challenge at all times; the dose understanding between the soloist and the orchestra should also be mentioned.
Schwäbische Zeitung, Konstanz

The Bach suites were musical, well-considered and refreshingly civilised in character and sound. Albert Roman displayed a well-rounded tone, secure intonation and graceful phrasing, especially in the Sarabandes.
The Daily Telegraph, London

My singly individual instrumentalist, the Swiss cellist Albert Roman, was at his most convincing in Bach's C major Suite, where the rich timbre of his instrument and the nimbleness of his technique were entirely displayed. A most eloquent account of the work's Sarabande justified his list of awards and distinguished teachers. The rarefied atmosphere of Debussy's late Sonata was another success.
The Times, London

Albert Roman and Andre' Navarra opened the Summer Festival ,,Ars e Musica" with an evening recital of cello duos. With great fullness of sound and masterful technique, the two artists interpreted Sonatas by Boccherini and Mozart as well as the ,,Tamburino" by F. dei Giardini. The public responded with long, enthusiastic applause.
Gazzetta Ticinese, Lugano

Albert Roman demonstrated his virtuoso accomplishment in a cello recital at Lucerne's Kunsthaus. He gave a convincing performance of Othmar Schoeck's posthumous Sonata and Ernest Bloch's Suite No. 1 for unaccompanied cello.
Luzerner Tagblatt

A great deal of well-earned applause was accorded to Albert Roman and Jean-B. Pommier at the St. Moritz Palace Hotel Easter Concert. The perfection, intuitive sensitivity and artistic ability of both musicians were astonishing. The reason for the rapid rise of both artists' musical careers became eminently clear from their interpretations.
Engadiner Post, St. Moritz

Albert Roman's clear phrasing, powerful sound and good sense of proportion all attest to the qualities of an excellent musician.
Les Activités Musicales, Paris

Albert Roman performed works by Bach, Beethoven, Schumann and Kodàly, both accompanied and unaccompanied. He proved to be a master of his instrument which he commands as an organist commands an organ of many registers. Jubilant song alternated with plaintive melancholy. After revealing the full scope of his playing in Bach's E flat major Suite, where he took us from academic staccato to choral fullness of tone, Roman showered us with soft, lyrical sounds as well as dramatic outbursts in Schumann's ,,Phantasiestücke".
Stuttgarter Zeitung

Albert Roman was a guest at the Polish music festival ,,Koszalin". He is an artist of great musical talent, as was particularly apparent in Bach's Suite No. 4 for unaccompanied cello. Couperin's ,,Pièces en Concert" were performed with stylistic and artistic sensitivity. Roman's fine cantabil,. his faultless technique and his dear phrasing could also be appreciated in B. Martinus ,"Rossini" Variations.
,,Ruch Muzycny" Warsaw

The programme showed both inner harmony and stylistic confidence, ranging from Bach to Debussy without confining itself to chronological order. These qualities were also evident in the performance by Albert Roman. The cellist from the Grisons commands a tone of perfect beauty and great sensitivity for the possibilities of his instrument, of which he takes full advantage without ever attempting to overreach them. But over and above that, he is also a meticulous player of works as different as a Sonata by Boccherini, Bach's austere Suite for unaccompanied cello and Debussy's difficult, mercurial Sonata... All these works were very convincing, and his interpretation of Beethoven's Sonata in A major could not have been improved upon.
Neue Zürcher Zeitung