On Remembering Russia
"Rodolfo is a terrific player with a gorgeous tone". December 2021
Remembering Russia, review
"And what a sound world this is! Then imagination speaks from almost every measure, surrounded by flawless technique and a profound insight into these scores, which are also interpretatively far from easy. Rodolfo shows himself to be a master, feels completely at home in this extremely colorful mixture of different styles, which he is as beautifully highlighted as in its quasi improvisational character. A wealth of nuances can be registered, the darker aspects receive just as much attention as the sensual ones, while within the broad framework of the many mood swings the musical temperament remains constantly high."
New Artist of the Month
"At heart, Jesús Rodolfo is a storyteller who uses four strings and a bow to give voice
to his restless imagination." November 2021
"I grew up listening to music by Russian composers, and like those chosen in this album, I left my home country and came to the United States looking for inspiration, to develop my career, and ultimately find who I really am," Jesus told The Violin Channel.
Time Out says
"...and violist Jesus Rodolfo, who will perform the U.S. premiere of two works by Spanish composer Anton Garcia Abril." June 2021
Bach in an empty New York gallery
"Violist Jesus Rodolfo explores the connection between the solitude of New York City at this time, and the feeling of solo Bach." January 2021
Produced by The New Yorker Brand Studio with SAP | This winter, SAP and Sing for Hope are placing pianos around The Shops at Hudson Yards to bring music and magic to the most resilient city in the world. These powerful performances by Juilliard and Broadway alumni remind us that "there’s no better stage than the city itself, and no better audience than New Yorkers." December 2020
INSPIRE - PERFECT PITCH
"When the teachers spoke to my mother they told her that I had perfect pitch and that I should play the violin, so at 7 I started with that instrument until, at 11, I switched to viola."
"Jesus Rodolfo offers a sublime interpretation of a transcripton of J.S.Bach's Sonata No. 3, BWV 1005 (originally for solo violin) a work of great power which includes the longest fugue ever written by Bach, a breathtaking tour de force. In Hindemith's Violoa Sonata, Op. 11, No. 5, Rodolfo finds parallels with J.S.Bah via the work's neoclassical musical language, leaveded by a purity, even a romanticism, of spirit. Ligeti's Viola Sonata is considered perhaps the most challenging solo viola work yet written, a challenge audibly relished by Jesus Rodolfo in this thrilling performance." January 2019
"Jesus Rodolfo is a star whose light transcends the stage. His performance of Bartok's Viola Concerto this past month at Alice Tully Hall, Lincoln Center, was nothing sort of genius."
... "The final Allegro came like a volcano explosion. Rodriguez whipped himself with a fiery frenzy, hitting the string with immaculate precision, which made the full house stand with the last harmonic of the soloist." April 2014
“The program included a work from the post-Bach solo string canon as well – Ligeti’s Viola Sonata, a dark, chromatic work, alternately introspective and forceful, and rich in influences of all sorts, including Hungarian folk themes, Baroque dance forms and jazz rhythms. The technicallyimpeccable, interpretively transfixing performance by Jesús Rodolfo, a student in the festival’s new Bach Virtuosi program, was one of the evening’s highlights."
"...a fantastic rendition of Hindemith's Sonata for Solo Viola, Op. 31, No. 4. After a few of the incredible variations in the final movement, one got used to Hindemith's sometimes brutal and dissonant idiom, to the point where some passages sounded sweetly melodic."
“There was a consummate grace in his tone, one that resounded with the same brightness as a violin during high notes, as well as the same melancholy of a cello during lower ones.”
"Rodríguez imprinted from the first note the contradictory character that emerges from the play: the inner struggle of its protagonist in front of himself and the world around him. A penetrating sound, without fissures in the register and with a high-pitched sound that, as already it has been pointed out on more than one occasion, it strokes the violin's timbre without complexes, in Rodriguez everything around it becomes music, from the movement of its body, to the energy displayed in each joint, in each note that it defines precisely of an architect. Not in vain, through the viola, his mind seems to play with balances and buttresses typical of other disciplines. Thus, the harmonics achieved in the "Pilgrim's March" movement full of anointing and mysticism, infected a sense of weightlessness to an orchestra that, throughout the concert, was growing with each intervention of the viola. "