caught the bubbling tunefulness of the first movement, the emotional tumult of the second, the giddiness of the third and the symphonic scale of the fourth.” –Chestnut Hill Local

 

“Ronaldo Rolim served with fervor and subtlety the superb [Grieg Concerto]…there was something galvanizing about watching [him].” –L’Agenda

 

“In a masterful performance that did justice to the work’s title [Beethoven’s ‘Emperor’]…[Rolim] displayed a magnificent sound through the rapid scales and solo cadenzas as well as a harmonious dialogue with the orchestra….Such endeavor was rewarded with a standing ovation.” –Täglischer Anzeiger Holzminden

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“Rolim convinced the several hundred music lovers present…especially in his clear and lively interpretation of the Beethoven Sonata in F Major, Op.10 No.2, but also in Prokofiev’s virtuoso Eighth Piano Sonata.” –General Anzeiger

 

“Ronaldo Rolim played the first movement [of Brahms’ Klavierstücke, Op. 119] enchantingly vocally, with delicate nuances, rather as a ‘soliloquy” of the composer. The following movements were strikingly vigorous in tone and urgent in the rhythm. Beethoven’s ‘Hammerklavier’ Sonata succeeded forcefully…In the Adagio, he used his exquisite cantabile to give a speaking voice to all the facets of pain, sensibility and consolation. Rolim has an elastic, casual swinging technique that allows him to shake devilish difficulties off his sleeve. He played the fearsome fugue, which some regard as a ‘pianistic torture’ with risk-taking, pithy, sometime almost jazzy attitude, without sounding monochromatic.” –General Anzeiger

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“the virtuoso pianist’s calm manner and gestures were reminiscent of András Schiff, and offered music full of clarity without showiness. The warm, non-metallic sound of the Bösendorfer came forward to meet the round sound and the mature legato of Rolim’s playing.” –Oberbaselbieter Zeitung

 

“The excellent contrast and variety [Rolim] captured from section to section [of Schumann’s Davidsbündlertänze] was surpassed only by his dramatically precise transition from the ethereal ending of the ninth to the vociferous tenth, bringing you to the edge of your seat. As Schumann’s music can often edge on the cryptic, Rolim’s ability to capture the spirit of each section was impressive.” –clevelandclassical.com

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“Among the highlights of the first evening sessions [of the Cleveland International Piano Competition] this week are Ronaldo Rolim's playing of two of the complex and lovely 'Ponteios' of Brazilian composer Camargo Guarnieri.” –The Plain Dealer

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“Ronaldo Rolim managed every texture, no matter how thick or difficult, with consummate elegance.” –New York Concert Review

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“He showed his elegant side at the Kiesel in [Debussy’s] Images I… In 'Reflets dans l'eau', drops twinkle and sparkle in light, waves rise, then the water flows calmly. His 'Hommage à Rameau' has a colorful unfolding after a strict beginning, and in 'Mouvement' he sometimes waits until the last moment before releasing a note, while passagework dissolves at both ends of the keyboard.” –Sudkurier

 

“The gentle characteristics of Robert Schumann’s Waldszenen often make this set underrated. Immersed in the work’s romantic mood, [Rolim] provided melodic tenderness and a feel for rapturous poetry in these nine miniatures.” –Schwäbische Zeitung

 

“Ronaldo Rolim’s playing is extremely lyrical, almost poetic, with a light and extremely nuanced touch… His looseness and sovereignty, especially in the treatment of the melody, may make one think of Bossa Nova. A flood of rhythms, colors and swinging melodies ultimately created a single-circuit sound, capturing the vibrations of the space into the music - even that kind of effect Ronaldo Rolim was able to achieve.” –Kronen Zeitung

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“In Debussy's Sonata in G minor, [violinist David] Lisker achieves a sob and ethereal amalgam, with more incisive accents from Rolim. The artists shine with virtuosity and produce a nervous joy and some depressive intent towards the elegant ending of this characterful piece.” –El Comercio

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“Calm, sublime, he breathed Mozart’s airy lightness.” –Scènes Magazine

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“[Rolim] performed Rachmaninoff’s Concerto No. 2 exactly like one would like to hear it. Without kitsch, without excessive gestures, Rolim brought no show, only music: his sound was warm and round and the presentation was secure and calm. One could trust that nothing would go wrong with this pianist in this devilishly difficult work.” –Tages Anzeiger

 

“In Rolim’s Brahms, he demonstrated courage, brilliance, security and his dialogue with the orchestra was divine.” –Musiczine

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“Ronaldo Rolim showed off his academic preparation, but above all, a special quality to move his audience through his playing. It was music of great beauty, imbued with elegance and technical dexterity.” –El Norte

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“Brazilian Ronaldo Rolim, aged just 23, impressed me... with the musicianship of a poet.” –Revista Concerto

 

“[Rolim’s] technique was very impressive and his style well-refined…. Rolim gave a fantastic performance – technically perfect and still very lyrical when it needed to be….The sounds that were achieved in this piece [Rachmaninoff's Concerto No.4] were some of the most beautiful notes in the whole concert.” –The Johns Hopkins Newsletter