"Rogers' talent, passion and vivaciousness is second to none as she masterfully performed Vivaldi's Four Seasons to a mesmorised audience." Covent Garden Guide, Feb 2008 "There were several "firsts" in the latest concert organised by the Stratford Chamber Music Society and given by that superb all-woman string quartet, the Iuventus, at the Shakespeare Institute on Sunday evening. They played two first quartets - one by Beethoven and the other by Shostakovich. It was the first time they had performed the Beethoven - his Quartet in F major opus 18 no.1. And they also played for the first time Haydn's Quartet in B flat major, opus 76 no. 4 "The Sunrise". It goes without saying that in neither case was there the slightest inkling that these young women were tackling, in public performance, quartets by these giants of the First Viennese School for the first time. Nor was it apparent that their viola player, Rose Redgrave, was on her first outing with the quartet. This dizzying collection of "firsts" would be incomplete without adding another "first" - and that "first" is first-class. One of the striking things about the Iuventus Quartet is the absolute rapport between the players. They are an ensemble in the strictest sense and the sheer pulse of their playing is dictated by the slightest of eye contact and by split- second knowing looks. But the most telling of all is the body language. The members of the quartet are so obviously enjoying every moment of what they are doing that this 'joie de vivre' transmits itself to their audience. The quartet by Haydn that began the concert was full of the Austrian maestro's customary inventiveness and was given an eloquent and elegant reading. The Shostakovich - his Quartet no. 1 in C major opus 49 - was written in 1938. Despite being composed in what was effectively a Reign of Terror in Russia triggered by Stalin's great purge of 1937 the music does not contain the darker elements associated with his later quartets. Again the Iuventus performed with bite and precision. In the Beethoven that ended their programme the Iuventus gave a reading that was more akin to interacting with an old friend than going on an outing for the first time. They were especially luscious in the second movement, whose marking of 'adagio affettuoso ed appassionato' gives some clue to its romantic character. The quartet's leader, Ruth Rogers, said the Iuventus were glad to be returning to Stratford and hoped to be coming back again. Let's hope their next visit is sooner rather than later." Preston Witts, Stratford-upon-Avon Herald (15th Feb 2007) "When a young string quartet combines passion, exquisite warmth of tone and - when necessary - unbridled attack, you know you're in the presence of something very special indeed. Such was the experience of the audience at Stratford's Shakespeare Institute on Sunday evening when the all-female Iuventus Quartet lavished on it some rich pickings from three of the greatest masters of the genre - Haydn, Beethoven and Schubert. The Iuventus Quartet was formed as recently as 2003, but already it has the authority of a more seasoned ensemble. In fact, ensemble is a key word with these musicians. They are entirely at one - in continual joyous harmony - as they interact with smiles and knowing glances while demonstrating brilliant intonation and phrasing. They began their Stratford Chamber Music Society concert with Haydn's Quartet No. 1 in C Major from his Opus 74 set - a typically witty and innovative Haydn composition with an exuberance that perfectly matched that of the players themselves. This was four young women having a lot of fun with Papa Haydn! It was followed by the last quartet of Beethoven's Opus 18 set of six - the so-called 'Early Quartets'. Here the Iuventus gave vent to the lush timbre of which they're capable - especially in the last movement, which occasionally hints at the glories yet to come in the 'Late Quartets'. After the interval there was a short piece by the contemporary Scottish composer James MacMillan, 'Memento', written in 1994 in memory of a friend. But it was what came next that held the audience's riveted attention - Schubert's Quartet in D minor D810 "Death and the Maiden". This sublime music was ravishingly explored by these four young women. At times the explosive energy of their attack was reminiscent of that great string quartet of the 1930s, the Pro Arte Quartet. In the slow movement - which demands very great playing indeed - the dynamics and the tempo were as near to perfection as it is possible to be. The Iuventus finished this great quartet in a flourish of helter skelter musicianship - the last movement is, after all, marked 'Presto' - and got the massive applause they so richly deserved." Preston Witts, Stratford-upon-Avon Herald (17th Nov 2005) "Iuventus Quartet - St Martin-in-the-Fields, 24th August 2004. This youthful female ensemble is formed of up-and-coming artists trained at London colleges and on the evidence of this concert, it's a background that has served them well. Technical ease, sensitivity to style, elegance in phrasing and excellent intonation were all apparent at the start of Janacek's Quartet No. 1. Tempo changes were negotiated with sure helmsmanship and the work's melancholy and intensity were powerfully communicated. In Haydn's 'Policeman' Quartet op. 77 no.1, the group really etched a sense of character and humour into the phrases - and here leader Ruth Rogers deserves special mention, bringing energy and brilliance to the taxing first violin part and enjoying the ebullient musical dialogue with the cello in the first movement." Joanne Talbot, The Strad Magazine "Ruth Rogers' account of Bruch's Violin Concerto No 1 was full of youthful freshness, a rare combination of passion, hushed inten­sity and fine spontaneity. The slow movement sounded ravishing with its poetic flair, simplicity of phrasing and purity of sound, while the finale, with its double-stopping, was impulsive in its bravura and full of life. " Petersfield Local Press "The latest in the Young Artists’ Platform section of this series was given by Ruth Rogers (violin) and Alvin Moisey (piano). Rogers has been described by Musical Opinion as “one of the most gifted violinists in Britain” and The Times deemed Moisey “a pistol-packing pianist”. No argument from anyone who heard this recital, to be sure. Their personalities shone through their playing, yet this was no display of pyrotechnics. Both played so securely that their technical efficiency was quickly taken for granted, and they were focussed solely on the heart of the music. They played four pieces. Beethoven’s Sonata Op. 12 No.3 in E flat, in as dignified, nimble and warm a performance as you’re likely to hear for some time to come; Albert Ginastera’s Pampeana No. 1, a “rhapsody for violin and piano” in which, though sparks frequently flew upward, there was no shortage of heart, and Karol Szymanowski’s sensuous Sonata, Op. 9. The latter two titles were relatively unfamiliar, but nothing in the programme was stylistically unfamiliar and at best one might have expected a pleasing and cosy happy-hour of music. What we heard, however, was an object lesson in making every item sound fresh and vividly alive – even the more familiar Beethoven. That even applies to the encore, Fritz Kreisler’s Liebersleid, still a joy to hear in this performance. " Howard Thomas, Croydon Advertiser "So on to the Vivaldi, which does not figure highly among my play-it-again-Sam items or rather, only appeals if enacted with the freshness of belief it inspired by here. After all, when played right thorugh, it tells a story; and an orchestra like this, alert to its electrifying contrasts and narrative colour, can, in the drooping sequences of 'Summer', the echoings and twitterings of 'Spring', or the rapt cantilena of 'Winter's largo- section, reaffirm Vivaldi's credentials as a top-rate programmatic writer. Essential is the presence of a solo violin as nimble and creamy as that wielded by Ruth Rogers, BBC Radio 2 Young Musician finalist in 2000, and these days, forging ahead. The lean, athletic path she pursued, the tone neither too haggard, nor too luscious, was perfectly in style. " The Oxford Times, 14th May 2004 "..violinist Ruth Rogers proved a delight to listen to." The Irish Times, 26th September 2003 "The solo sequences by the young violinist Ruth Rogers, a dynamic, sparkling performer; these proved profoundly satisfying." Al-Ahram Newspaper, Egypt, 4-10 September 2003 "From the very first bars of Beethoven's Violin Sonata Opus 30 No 3 I was made aware of a violinist of firm commitment, whose sense of drama and musicality was implicit in all that she was about to convey to her Wigmore Hall audience on 12 May. Ruth Rogers' conviction to the music allowed me a rare moment in reviewing to simply sit back and enjoy the performance. Her sense of dynamic shading brought Beethoven alive in the Allegro assai, while the Tempo di minuetto second movement found inherent charm and a deep respect for the composer, the whole sonata charaterised by elegantly poised playing from both Rogers and her astute duo partner, pianist Alvin Moisey. Karol Szymanowski's 1904 Violin Sonata Opus 9 proved an equally powerful performance, hitting at the heart of its Romantic leaning; the wholesome yet unfettered piano part courting the violin strains. Rogers' controlled bowing allowed the work the feel of a concerto; fiery and robust, the sound was thrilling and excited passion throughout. Following a characterful performance of Alberto Ginastera's rarely heard 1947 first Pampeana, came a bold and imaginative interpretation of Richard Strauss' 1887 Violin Sonata Opus 19. Rogers' unrelenting boldness of style captivated me, while passages of uttermost delicacy, fashioning the Andante cantabile, was as impressive as it was beautiful. The Andante opening of the Finale was breathtaking before a quixotic Allegro was pronounced with consummate skill. Ruth Rogers must be one of the most gifted young violinists in Britain, her playing not calculated in any sense, her performance style and technique so assured that the music flows as a natural consequence of innermost understanding." Musical Opinion, September 2003 "Real electricity in Szymanowski's Notturno e Tarantella - the brilliant and dashing Tarantella in particular drew sparks as the virtuoso material was delivered with panache. " The Strad, May 2003 "..full range of violinistic prowess. Rogers and Moisey mapped out a persuasive account, with genuine emotional intensity." The Strad, May 2003 "The start of the concert is a blessed relief. Even though it’s an afternoon freebie, Rogers is dressed as if we’d paid 100 pounds at the Philharmonic, in black bustier and skirt. Her playing is incredibly beautiful in a programme that includes Beethoven, Elgar and Prokofiev. During Ysaye’s ‘Poeme Elegiaque’ I find that I’m getting a bit weepy and reflect that the last time I cried at anything free was during one of those television ads asking for two pounds to save the child with a drip in his arm from dying. Even that wasn’t strictly speaking free, because I’ve been paying five pounds a month ever since." The Observer, Sunday 9th February 2003 (Purcell Room/ Recital with pianist Alvin Moisey) "She makes such a beautiful sound" Andrea Bocelli, Tenor (November 2002) "One of the most promising young British players of her generation" Dr Janet Ritterman, Director, Royal College of Music, London (October 2002) "The rest of the programme investigated the lure of the Orient in music by Rimsky-Korsakov and Prokofiev. Rimsky’s Sheherazade received an exuberant performance, with some superb solos from leader Ruth Rogers" The Guardian, Thursday 20th June, 2002 (Britten-Pears Orchestra/ Sakari Oramo) "Ruth Rogers has been a student of mine at many masterclasses and private lessons. She is an excellent violinist with a very big repertoire in concert and chamber music. Ruth is undoubtedly one of the most talented violinists of her generation and I am convinced she will have a successful and important career." Herman Krebbers, Professor of violin, Sweelinck Conservatory, Amsterdam and Robert Schumann Institut, Dusseldorf (11th June 2002) "An outstandingly gifted young violinist. Her playing reveals a sensitive musician with original personality, excellent stage presence, a wonderful temperament and high technical ability" Itzhak Rashkovsky, Professor of violin, Royal College of Music, London (15th April 2002) "Sibelius’ violin concerto…a virtuosic performance" John Taylor, local critic (March 2002) Sibelius Violin Concerto/ Colne Philharmonic/ Anthony Weeden "I shall not forget her performance for a long time - quite awe inspiring. I feel honoured to have shared the experience she gave us all" Jill Davison, local critic (March 2002) Sibelius Violin Concerto/ Colne Philharmonic/ Anthony Weeden "It gives me great pleasure to recommend to you this superbly gifted and charismatic young violinist whose playing I know well from memorable performances during her prestigious studies at the Royal College of Music where I have been her professor in chamber music. Ruth is an exceptionally brilliant performer - mature, profound, and blessed with a truly creative and authoritative artistry. Her stylish awareness, complete command of her instrument and exemplary integrity in her playing are matched by a warm, lovable, charming and poetic personality. This combination impresses audiences the minute she walks on stage and holds their total attention throughout. Ruth has that rare quality of thrilling communication and dedication and projects these sterling qualities with great dignity and authority. She is an exciting performer of international calibre and I recommend her to you with unreserved enthusiasm." Yonti Solomon, Bmus, FRCM, Professor of piano, Royal College of Music (16th November 2001) "I consider Ruth Rogers to be the finest of the younger generation of violinists, possessing a virtuoso technique, and intelligent and cultivated musicianship. She has a delightful personality, and her performances are presented with graciousness, individuality and character, and with a strong sense of communication with her audience. I confidently predict that Ruth Rogers will enjoy a successful and fulfilling career. Go hear her!" Hugh Bean, CBE, FRCM; Leader Emeritus, Philharmonia Orchestra; Professor of violin, Royal College of Music (12th October 2001) "I will never forget her performance of Tchaikovsky’s violin concerto. She has a fantastic career ahead of her" Neil Thomson, Head of Conducting, Royal College of Music, London (18th February 2000) "She woos the audience with her personality as well as her violin" Tom Wheare, Saga Magazine (July 1997) "A sweet, true tone.. A sheer delight" The Western Gazette (November 1994) Haydn Sinfonia Concertante/ Dorset Chamber Orchestra/ Robert Jacoby