...a dash of effervescence that lasted the whole programme through...
... the masterpiece was undoubtedly a daunting opener, Kellad (The Bells) for solo piano by the great Heino Eller, where a left-hand bell-ostinato is wrenched out of kilter in the central welter, only to reassert itself. Rokashevich had the perfect measure of this titan.
David Nice, The Arts Desk
the space she gave to Lizst's Petrarch Sonnet 104 showed real mastery. Debussy's "La soirée dans Grenade" from Estampes brought with it a real surprise in Rokashevich's sleight-of-hand rolling-out of vivid guitar strains in the night just before the quiet close.