One of the most talented and refined violinists of his generation.
Yehudi Menuhin
He belongs to the great line of outstanding artists. His approach and relationship to Music and the Violin is intense, highly sensitive and intelligent.
Ivry Gitlis
A brilliant young Russian violinist.
The Financial Times
An electrifying performance, not just beautiful, but bursting with the kind of brio that makes you sit up and listen
Une éloquence, un lyrisme, une plénitude, une évidence sensible qui nous comblent.
Sasha Rozhdestvensky is a commanding technical, and it’s doubtful that the Tchaikovski Violin Concerto has been better played since Heifetz. Indeed there was a lot of Heifetz in this young man’s performance-the Dionysian and Apolonian aspects were in perfect excitement and throbbing emotions were all in the fingers, arms and the instrument itself.
New York Daily News
The resonant and beautifully evocative soloist.
Evening Standard
…A memorable performance of Prokofiev’s second Violin Concerto. Making his Proms debut, Sasha Rozhdestvensky displayed the warm lyricism necessary for this concerto…
He caught all the contrasts in the first movement’s parade of bittersweet themes, supported by a gentle accompaniment. The ravishingly beautiful slow movement had expressive freedom, before it was back to mid-1930s Soviet reality in the sardonic, stabbing dance rhythms of the finale.
The Times
First heard at the Proms in 1954, Prokofiev’s Second Violin Concerto can surely have had no better advocate than Sasha Rozhdestvensky at this venue… his clear tone immediately mesmerising.. intoxicatingly beautiful… creating a captivating sound world. … one of the most enjoyable Proms this season.
The Strad
Le violoniste Sasha Rozhdestvensky, dans un programme de musique russe peu convenue, a magistralement interprété Offertorium de Goubaïdulina. Le violon commence en brèves interjections et glissandi, mais la partie soliste devient ensuite la vertèbre dorsale de toute l’œuvre, dont la virtuosité est moins démonstrative de technique qu’orientée vers une expression pleine de sensibilité dont témoigna avec grand art l’archet de Sasha Rozhdestvensky sur un beau Guadagnini de 1762.
Dernières Nouvelles d’Alsace
À Cannes, une révélation, l’étoile montante du violon russe, Sasha Rozhdestvensky, avec son partenaire, le violon Guarneri del Gesu et l’archet du Bon Dieu, aérien, séducteur. Il y a tout dans le jeu de Sasha : la perfection technique sans défaut, la délicatesse inouïe, la minutie et la noblesse au service de ces quatre concertos d’une beauté contagieuse, irrésistible, qui nous mettait en état de grâce. On imaginait Vivaldi dans la Venise de Canaletto. Un triomphe.
Nice Matin
Polished and witty playing of tonal allure.
The Boston Globe
An astute violinist… rendered the works with understated flair.
Boston Herald
Sasha Rozhdestvensky played all six of Sibelius’s Humoresques beautifully, with full yet unaffected tone, plenty of dash and great sensitivity of phrasing.
Boston Phoenix
There was plenty to admire about his performance. He astutely varied his tone between radiant sweetness and raw astringency, his passagework was clearly articulated and his pianissimo playing was exquisite. Rozhdestvensky highlighted the concerto`s lyricism, offering an impassioned Reading of the Passacaglia and displaying bravura technique and a strong sense of line in the challenging cadenza.
The Australian
Sasha Rozhdestvensky played the demanding Violin Concerto No.1 in A by Shostakovich with implacable technical command, unwavering focus and a sound of rich strength and warmth.
Sydney Morning Herald