“Violins in celebration, cellos led by a smile, the pizzicati and delicate bowstrokes of the double bass still ring in the audience’s ears (…). If you happen to come across Roberto Sawicki and his strings, turn back and catch up with him!”
(Ouest France, August 1979)

“Roberto Sawicki's rather more allusive than authoritarian impulse, whose power of communication is stamped with the seal of subtle musicality.”
(Tribune de Geneve, April 1981)

“Roberto Sawicki, a true wizard on the violin, never conducts his ensemble from a raised platform, baton in hand. This surprising man blends with his musicians: an exceptional violinist, he makes the strings of his instrument sing with a stroke of his bow, something impossible to forget once you have heard it. Without giving in to simplification, and able to unite cohesion and a sonority rich in nuances, this instrumental ensemble is energised by friendship, a perfect understanding with its conductor and a common love of music, which can be perceived both in the faces and the performance of the musicians.
(…)
The ensemble is made up of exceptional musicians, the kind that cannot be forgotten once you have crossed their path: a path of harmony and virtuosity whose strings carry the message.”
(Combloux, France, August 1982)

“What characterised this whole musical hour was an exceptional quality of emotion (…). Very seldom did a Largo’s magical phrase sing with such grace, freed from all weight, in a pure and balanced dialogue.”
(Quotidien de la Côte Ouest Lémanique, April 1983)

“Some twenty artists, all masters of technique and sensitivity.”
(Tribune de Geneve, February 1985)

“This professional ensemble of the highest quality, twenty-five strings conducted by the talented violinist Roberto Sawicki, is always awaited with keen interest, as the programmed works stand out from the usual monotony.”
(…)
Belá Bartok’s Divertimento for strings is a real jewel. Extremely challenging to perform by virtue of its changes in tempo, displaced rhythms, and complex notation, the piece demands both virtuosity and spirit. The Geneva-based orchestra, with a perfect line-up and a conductor who seems to carry the music from within, has delivered an unforgettable and irresistible version of this masterpiece. The sensual and lyrical strings, perfectly intonated and led by a brilliant first violin, provoked the admiration of a conquered audience.”
(L’Est Vaudois, November 1988)

“And then came the delicacy of the concert: Benjamin Britten's Simple Symphony. Roberto Sawicki conducted this piece, which stands out for its diversity and originality, with admirable dedication. Passion, ardour and humour blend with reminiscences of Scottish music and a surprising and inspired pizzicato, performed by the whole orchestra with evident joy.
An exemplary performance, in which the musicians do not content themselves only with impeccable execution, but add the emotion and intelligence of the music. That makes all the difference.”
(Journal de Vevey-Riviera, April 1989)

“The Adagio KV261 was played first (…). Roberto Sawicki gave it true sensitivity, and his orchestra happily followed suit. It is quite clear that both the former and the latter have benefited from their long intimacy with Mozart (…). Roberto Sawicki knows how to make use of the smiling tenderness as it merges with a trait that has suddenly grown agitated or grave. Mozart played gently is perhaps not difficult. Respecting the spirit, the intentions with such scrupulous penetration, however, is the prerogative of high-quality performers.”
(L’Est Vaudois, April 1989)

“A magnetic current seems to unite these musicians, driven by the inspiration of a charismatic conductor: violinist Roberto Sawicki.”
(Les Affiches de Grenoble et du Dauphiné, February 1990)

“That a rhythm in principle so foreign to classical music could be treated with such flavour must certainly have surprised more than one listener. The composer has taken some notes from a tango, played with delicious repetition by the piano, and integrated them in melodies and other dance rhythms. I believe Piazzola avoided whatever could have made the piece tedious or banal: there are no pronounced effects but rather a music which is full of life, cheerfulness, freshness, spirit, enthusiasm, irony, sadness at times, and depth.
(…)
Everyone followed the baton of a conductor who clearly demands that his musicians recreate the work amongst themselves and together with him. I would dare to say that Roberto Sawicki does not conduct the orchestra but inspires it. And with great success!”
(Jean-Jacques Isaac, enthusiastic member of the audience)

“The Orchestra of Lancy and its conductor Roberto Sawicki have found, this past Tuesday at the Saint Pierre Cathedral, that precise tone, stripped to its essentials, of inner tension and serenity, provoking the purest and most solemn of emotions.”
(La Tribune de Geneve)

Regarding the Piazzola-Stalman CD:

“The great ability and pleasure found in the musicians’ performance are underscored by the quality of the recording, which enhances the soft and at the same time clear sonority of the strings. I would recommend this CD to all those who wish to enrich their collection with a beautiful tango recording. I, for my part, have pressed the replay button several times, wondering if I shouldn’t consider Buenos Aires as my next holiday destination.”
(Revue Musicales Suisse, February 2000)

Regarding the Bloch CD:

“Both concise and of a great expressive richness, Bloch’s language aims directly at the heart. Even more so when it can rely, as it does here, on musicians whose fervour and authentic spirit of collaboration easily transcend differences in style and technical difficulties … Roberto Sawicki manages to succeed with a rare and daring programme whose live performance keeps all its emotional load. A very beautiful disc.”
(Diapason, Paris, September 2001)

Tribute to Alberto Ginastera

“The success of the programme is largely due to the talent of the performers, capable of the greatest tenderness, as well as the harshest violence.”
(La Tribune de Geneve, October 2003)