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"Standing Ovation for Piano Virtuoso - Local musicians learn from one of the best [subheading]. Australian pianist Cameron Roberts received a standing ovation last Friday at Wangaratta Performing Arts Centre. The audience was also treated to two encores… Arts Council president, Margaret Brickhill, said Roberts' brilliant technique and creativity in performance were evident throughout the two-hour concert." - THE CHRONICLE, Australia, March 31, 2010

"En el día de ayer pude escuchar uno de esos conciertos que no nos dejan indiferentes, ni por el programa, ni por los intérpretes, la violonchelista alemana Beate Altenburg, afincada en nuestro país desde hace un lustro y el pianista Cameron Roberts, casi recién llegado a la vida musical madrileña. En primer lugar, quiero destacar el hecho de que, durante todo el recital, el piano permaneció con la tapa complétamente levantada. Pocas veces, por desgracia en España, nos encontramos con unos verdaderos cameristas y con un pianista que sepa adecuar su sonido para que el del chelista nos llegue en toda su integridad sin tener que "sacrificar" a su instrumento bajando la tapa. Si a eso le sumamos que la versión que hace Beate de la sonata de Rachmaninov es realmente intimista, sobrecogedora en muchos momentos, esto nos da la idea del magnífico músico que es Cameron Roberts." - Notastenidas, 2008

“The [Bach] is not short on colourful touches. Roberts using sustaining pedal discreetly and introducing some metrical flexibility, as well as opening up some usually hidden lines, as in the final Quodlibet. With a highly developed technical facility, the pianist made exciting work of the faster sections, particularly those that require the hands to cross. Roberts has a clear grasp of the work and manipulated its internal pulleys and levers with impressive insight... He ended with his own transcription of the Bach Brandenburg Concerto No. 3, a sterling demonstration of keeping most of the original’s 10 lines on the boil, admirable at many points for the player’s clean management of the chain of thirds... Roberts’ praiseworthy treatment of another [Rachmaninoff] song, Sleep – the most effective example of this young artist’s high level of musicianship" – Clive O’Connell, THE AGE, Melbourne, Australia, 2006

“One of the National Academy’s brighter sparks, pianist Cameron Roberts, gave a splendid hour’s worth of varied repertoire on Saturday night. He opened with an exemplary Bach Partita No. 1, a lucid appreciation of the work’s benign busy-ness coming over. This was followed by Scriabin’s Sonata No. 5, treated with a compelling breadth of expression and subtlety that mitigated the work’s neurasthenic language. Two deftly contrasting Grainger pieces preceded four Rachmaninov preludes of high-calibre playing. Along with the essential technical facility, Roberts invested these with a controlled vehemence that you might have encountered in a musician twice his age. He is no slouch at bravura, either, as shown by his glittering, slick reading of Gershwin’s I got rhythm in a Earl Wild transcription, with his own touches added for good measure.” – Clive O’Connell, THE AGE, Melbourne, Australia, 2000

"Cameron Roberts made an intelligent and suitably grandiose creature of the “Emperor”, No.5 in E flat. This involves a test of any player’s stamina. Roberts displayed a highly impressive grasp of the concerto’s framework and his position inside it. He is a significant talent.”– Clive O’Connell, THE AGE, Melbourne, Australia, 1999

Cameron Roberts - Original Piano Transcriptions (2009)
(MOVE Records - www.move.com.au)

• Vivaldi/Roberts Summer (from The Four Seasons) • Rachmaninoff/Roberts How beautiful it is here, The Morn of Life, Sleep • Gershwin/Roberts Rhapsody in Blue • Bach/Roberts Largo (from Concerto for Two Violins) • Tchaikovsky/Roberts 1812 Overture • Faure/Roberts In Paradisum

"He shapes to the demands of whatever he plays like fine wine to a goblet. His taste is impeccable, his physical command of the piano is remarkable. Refinement of style informs every moment of this recording.

Magically silvery tone in the high treble informs the second movement which is transcribed and played with such artistry as to assume an identity that is quite unique and able to stand proudly in its own right.

How Beautiful it is Here! is given marvellously lyrical treatment, each note clothed in gorgeous cantabile tone.

The Largo ma non tanto from Bach’s Concerto for two violins is another gem which leaves little doubt that Roberts is a born Bach interpreter; this offering cannot be faulted."
(Neville Cohn, Ozartsreview, June 2010)

BACH - Goldberg Variations & Original Transcriptions (2006)
(MOVE Records - www.move.com.au)

Bach • Goldberg Variations
Bach arr. Roberts • Es ist Vollbracht • Aus Liebe will mein Heiland Sterben • Brandenburg Concerto No.3

"ROBERTS is in Olympian form in Bach’s Goldberg Variations which comes across as a chaplet of near-faultlessly fashioned pianistic gems.

The bold, abruptly peremptory quality of Variation 16 could hardly have been bettered. A dainty, graceful account of Variation 17 makes for sheerly beautiful listening – and the intricate delicacy of Roberts playing in the20th variation calls finest Brussels lace to mind.

Es ist Vollbracht from the St John Passion is as much an instance of the transcribers art at its highest as it is a profoundly probing interpretation."
(Neville Cohn, Ozartsreview, June 2010)

Private sale, studio recording
A collection of Piano Solo Favourites (Schubert, Chopin, Debussy, etc.)

Private sale, live recording. St.John’s, Southgate, Melbourne. Works by Bach, Scriabin, Rachmaninoff, Grainger & Gershwin

The other day, I listened to a new CD by a pianist whom I'd not heard before. Only seconds into track one, however, I knew I'd not easily forget the name. Make a note of it: Cameron Roberts. On the evidence of this recording, Roberts has the potential to become an international star. Roberts' account of his own transcription of Summer from Vivaldi's Four Seasons, for instance, draws on a dazzling rainbow of tonal colours. It's playing that rivets the attention even in such hackneyed pieces as Tchaikovsky's 1812 Overture and Gershwin's Rhapsody in Blue. It's virtuosic playing that is frankly thrilling. His 2006 debut CD on the MOVE label, Bach's Goldberg Variations and Original Transcriptions, was praised as thought-provoking and… (continued at: thewest.com.au)