“American bassoonist Ben Roidl-Ward scaled the heights and depths of Liza Lim’s Axis Mundi with breathtaking dexterity […] Roidl-Ward’s dazzling technique shone again in Victor Arul’s Barrelled Space, a relatively lengthy and complex ensemble piece that began life as a solo bassoon work.”
“Slimy Tracks starts with Daniel Lippel’s fascinating guitar playing that unfolds with quirky, unpredictable patterns, and Taxidermy follows with Ben Roidl-Ward’s clever and artistic bassoon that mesmerizes us with its colorful delivery.”
“No less thrilling is the solo bassoon piece grandFather, a searing, wildly careening piece interpreted with breathless virtuosity and gritty intensity by Ben Roidl-Ward.”
“Other standout moments included the second movement “Prayer Meeting,” which featured a lovely duet between principal oboist Ricardo Castañeda and flutist Janice MacDonald, as well as the third-movement “March,” a showcase for the Sinfonietta’s plucky bassoon section, including a winsome solo by principal Ben Roidl-Ward.”
- The Chicago Classical Review
“These fractured texts (intentionally) make less and less sense as they proceed, and Al-Zand accordingly puts soprano Alexandra Smither through vocal calisthenics of ever-increasing difficulty—all of which she aces—amid her character’s mounting hysteria. Bassoonist Ben Roidl-Ward, the sole accompanist in this unusually scored piece, is an equal partner and matches Smither’s remarkable expressive prowess.”
“Chicago bassoonist Ben Roidl-Ward has served as a formidable advocate for his instrument’s role in experimental music, and on his first album, he cements that work with a challenging program that definitely pushes the boundaries of his famously rheumy double reed.”
“Bassoonist Ben Roidl-Ward absolutely rose to the challenge and brought the house down with his brilliant performance. From the continuous circular breathes that sustain the expansive and dynamic opening low note, to the precise and incisive staccato bursts, to the furious speed of passages that run the entire range of the bassoon, to the dizzying array of crazy rhythms, to the effortless production of cool multiphonics and soulful slides, Roidl-Ward owned the piece.”
“Roidl-Ward outdid himself during Chris Fischer-Lochhead’s grandFather (2013) for solo bassoon. Full of sliding multiphonics, fluttertonguing, quick shifts from rapid scale passages to vocalizing growls and yelps and back again, the piece is best described as grandpa gone wild. And Roidl-Ward’s astonishing performance left you wondering,
‘how did he do that?’”
“Roidl-Ward, the featured soloist on the piece, demonstrated not only flawless technique but also impressive control of sound and color. He navigated treacherous high runs and multiphonics with confidence, never faltering […] The final notes played on the bassoon offered a clear and commanding finish to the wonderfully constructed piece, and the crowd went into an unadulterated frenzy. Following Roidl-Ward’s inspiring performance was the world premiere of Helgeson’s Snow Requiem […]”
“Throughout the concerto, Roidl-Ward was the embodiment of composure and confidence. He maintained his attractive, sonorous tone in all registers, despite every challenge Gubaidulina threw at him. Here’s hoping that CME will find the opportunity to record this performance — it’s well worth preserving.”
“Roidl-Ward is another excellent musician, playing with style and expressiveness this charming concerto which makes full use of all the instrument’s registers and capabilities. I particularly liked his sense of phrasing in the cadenzas.”