This became very palpable/tangible in the beautiful G. de la Torre's watercolour, in which Roberto Casado excelled in his pas-de-deux with the bailarina. The flute solo wasn't amplified but was perpetuated occasionally by the eletronics, which admirably enhanced its sonority with remarkable sensitivity and respect. In the meantime, the flutist absorbs the bailarina into his orbit, and the whole audience with her. Then he rejects her. There is an attraction of opposites -black and white- and winding gestures on the floor that respond to the sound spirals. Clearly, a beautiful and breathtaking watercolour.

(TEOBALDOS, Diario de Noticias 20-09-16)

The result is a disconcerting work, full of tension, and interpreted convincingly by and excellent Roberto Casado.

(XABIER ARMENDÁRIZ. Diario de Navarra 18-09-16)

The flautist was positioned off-stage, to be exact in the next floor level of the Zabalaga mansion, allowing in this way the sound to flow across all the space with a special and suggestive charm. And one of the greatest enjoyments of the recital was to be able to enjoy the timbre qualities generated by a combination of these two instruments, thanks to a good rapport, and magical and enveloping acoustic results. In Fandango, Roberto Casado had to rely on his virtuosity and musicality to guarantee find sound, and the same could be said of the ‘Carmen Fantasy’ of Bizet, in which some beautiful and none easy variations were portrayed in the melodies of Habanera or the Bohemian Song. The results were truthfully good, thanks to the fine work undertaken by the harpist who participated with fine skill to this joint work. The sweet piece ‘Oñazez’ ended a delightful and terrific recital

(AITOR ALVAREZ. Diario Vasco 21-08-07)

After this Colard and Casado delighted the public by their varied repertoire displaying the great ability that both possess in their respective instruments. In this way, the French lady – member of the Basque National Orchestra – showed the best of herself in each piece, shining together with Casado in the Six Dances of B. Bartok, the Fandango of the Andalusian Dog’ of the Alavés composer J. San Miguel, and especially in the ‘Amorosa’ of J. Guridi, together with ‘Oñazez’ of Father Donostia which were heard full of dynamics.

(IÑIGO ARBIZA. Diario de Noticias 21-08-07)

Roberto Casado coaxes a beautiful sound from his flute. A soft wooden sound, homogeny, with an equality of intensity in the lower registers as of the high registers which are never shrill. And maintaining this quality, he holds, on top of this, a considerable volume, in fact very large in some moments.

(TEOBALDOS. Diario de Noticias 25-08-08)

- Dedicated above all to a protagonist

– the flute

– performed by another no less virtuoso as is Roberto Casado…

A piece that displayed the impeccable sound of the flautist Roberto Casado… The Introduction of the harp gave way to a sensitive and refined flute. The melody was treated in a virtuoso manner by the flautist… Afterwards, Roberto Casado gave a version of the flute solo ‘Oiseaux Tendres’, a composition of Rivier, in which the extreme velocity did not constitute any obstacle to an impeccable concert artist. The performer was to continue to be able to show off in the Habanera with variations from the opera ‘Carmen’ of Bizet and Borne… The duo complimented each other perfectly in the ‘3 Fragmenty’ of Lutoslawski, a work in which they achieved an impressionist ambience very indicated to expose beautiful sonorous sensations.”

(JOSEBA LOBERA. El correo 08-04-03)

An indisputably fine meeting where the technique, the knowledge, the expression and the chamber music work appropriate place. It is not easy to win the public with a repertoire only from 20th century, however if this is as varied in style as it was yesterday and in addition is performed at a level bordering the perfection, then it is then that the public lose themselves to the music. Roberto Casado made possible this miracle...

(MARÍA JOSÉ CANO. Diario Vasco 10-06-01)

Roberto Casado chose a war-horse to show his technical capabilities-the concerto of Ibert. He played with agility and brilliance even in the most showy virtuoso passages, such as in the cadenza of the third movement. But the central andante was not of less level, where the long melody was presented with great quality...

(F.P.O. Diario de Navarra 23-11-99)

Particularly to be stressed is the courage of Roberto Casado in presenting a programme with works of the 20th century, composed by L.Berio, M.Oltra, X.Montsalvatge and A.Jolivet. He interpreted them all with a perfect command of difficulties inherent in each case. Such difficulties were overcome brilliantly from the technical, expression and sound point of view. All this shows a well rounded, mature instrumentalist.

(A.M. Catalunya Música- Revista musical catalana 01-11-01)

Casado’s position with the instrument is to look for the most comfort possible, without risking the loss of technique in air production. In the second half he maintained constantly a great level which warmed the public who greatly enjoyed his effort...

(EMECE. Diario Vasco 02-09-99)

Roberto Casado played solo at one point, showing off a superb air production and total control of the sonorous registers...

(TEOBALDOS. Diario de Noticias 02-03-98)

He played the programme with commitment, with natural ease and intensity...

(F.P.O. Diario de Navarra 12-02-98)

Two excellent performers totally fused together...

(TEOBALDOS. Diario de Noticias 12-03-97)

Roberto Casado performed the Bach Suite with full respiratory control and very cleanly...

(F.P.O. Diario de Navarra)