“Bolette Roed’s debut recital started with a premiere, ended in the high medieval age and in between touched on both renaissance, baroque and rococo and the encore was a folk dance (…). The cards were shuffled for a maximum of diversity (…) a convincing whole: an exciting and stimulating account of the instrument’s many capacities. 

And, of a fascinating and intelligent musician. Bolette Roed is not only a virtuoso; she is one with the music (…) intense and directly committed (...)

“Bolette Roed’s debut recital started with a premiere, ended in the high medieval age and in between touched on both renaissance, baroque and rococo and the encore was a folk dance (…). The cards were shuffled for a maximum of diversity (…) a convincing whole: an exciting and stimulating account of the instrument’s many capacities. 
And, of a fascinating and intelligent musician. Bolette Roed is not only a virtuoso; she is one with the music (…) intense and directly committed (...)
With three pieces, new music was heavily weighted in the program, eloquent in the communication. (…) with spontaneous lyric expressiveness. 
Sensitivity characterized a … sonata by C.P.E. Bach, while father Sebastian’s trio sonata in G major turned into vivid, playful chamber music with delicacy and perky joy of playing (…). And as tight, intimate phrasing progressively dissolved into jubilant embellishment, Jacob van Eyck’s solo variations on “Psalm 118” became a concentrate of Bolette Roed’s musical resources” 

Jan Jacoby, Politiken, April 1 st 2004