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