" [...] Especialmente interesante y loable me parece siempre la labor de Johanna Rose en la viola gamba bajo; no por nada si sitúa normalmente en el centro físico del conjunto. Rose es, en mi opinión, el pilar fundamental del conjunto hispalense, haciéndose valer con una naturalidad, elegancia y exquisitez permanente en sus actuaciones, cuidando mucho el sonido de su viola y sin extravagancias de ningún tipo en sus maneras. [...] "

Mario Guada | December 2018

" [...] Hay pocos instrumentos que empasten tan bien como una viola da gamba y una tiorba. Sobre todo, si se tocan de forma tan excepcional. Rose es pura elegancia. Y transparencia. Con ella se cumple ese dicho de que la viola da gamba es el instrumento que más se asemeja a la voz humana [...] "

" [...] Johanna Rose zeigt in dieser Aufnahme, wie viel musikantisches Potential man da locker machen kann, sowohl im Volumen als auch in der Verzierungstechnik. Tonlich wirkt das so, als ob eine legendäre Streitschrift aus der Zeit – die "Verteidigung der Viola da Gamba gegen die Angriffe der Violine und die Anmaßung des Violoncellos" (Hubert le Blanc, 1740) – schier gar nicht hätte geschrieben werden müssen [...] "

" [...] En este debut pirenaico como solista desplegó todo su talento para abordar el virtuosismo técnico y la gran riqueza de recursos que atesoran las partituras de Marais, exhibiendo en todo momento agilidad, un vigor y un refinamiento expresivos realmente excepcionales. [...] "

" [...] Dietro la bellezza e il significato idiomatico di queste sonate vi è anche l’apporto interpretativo dato da Johanna Rose e Javier Núñez, contrassegnato da un equilibrio in cui forma e passione, linea espositiva e ricerca psicologica (uno dei tratti fondamentali forniti in musica dall’Empfindsamer Stil) convivono efficacemente, dando vita a un’espressione musicale in cui il lirismo della viola da gamba (la padronanza tecnica dello strumento dell’artista tedesca è impeccabile) si coniuga con la ricercatezza timbrica del clavicembalo, sempre pronto a intervenire, a chiosare, a vigilare timbricamente, già ponendo le basi di quella dimensione moderna che investirà il ruolo dell’accompagnamento nel corso del XIX secolo. [...] "

" [...] The music’s swiftly changing ‘affects’ are depicted by Johanna Rose with a sure sense of style and agile technique’....’The central slow movement is a magnificent example of the ‘sentimental style’ for which Bach Junior was celebrated; its aching dissonances are fully relished and held almost to breaking point by both interpreters, who then break into an Allegro assai that develops a breathtaking momentum, bringing this well-recorded CD to a triumphant close. [...] "

" [...] Johanna Rose delves into the expressive and rhetorical angles with great attention to accents and details. The sound is bright and fine-grained, without the usual rough or metallic tones known of other soloists. On the contrary, she knows how to extract an interesting range of colors always based on an extremely clean intonation. Particularly outstanding is the plenitude of precise and sparkling fast notes... `In the slow movements on the other hand, she perfectly achieves the melancholic tone in her phrasing, due to a well-dosed Legato [...] "

Scherzo, January 2018 | Andrés Moreno Menjíbar

" [...] Johanna Rose draws out every ounce of intimacy and grace, too. These are beautifully sensitive, expressive and musically shaped performances. There’s often a wonderful aria-like quality to her slow movements; she brings a gentleness together with a strong sense of rhythm. Her tone itself is glorious too: rich and dark, with an exceptionally attractive grainy edge to it.All in all, a really strong solo debut [...] "

" [...] Die Gambistin Johanna Rose, die in verschiedenen Originalklangensembles gespielt hat, legt hier ihr erstes Album vor. Ihr farbenreiches und elegantes Spiel vermittelt den Charakter der Viola da Gamba mit singend sonorem und weichem Klang ausdrucksvoll. Ihr zur Seite steht mit Javier Nunez ein sowohl als Solist als auch Continuospieler arrivierter Kollege, der dem Cembalo in einem Maße Leben und Farbe abgewinnt, wie es nicht jedem gelingt. Insbesondere auch die Cembalosolosonate erlebt mit diesem ausgereiften Spiel eine lebendige und beeindruckende Interpretation. Zusammen zeigen die beiden Musiker die ganze Qualität dieser späten Gambenwerke. To a certain extent, Carl Philipp Emanuel Bach’s works for viola da gamba and harpsichord are behind the time, as the great period of the viola da gamba was over when he composed for Ludwig Christian Hesse, a foremost player of this instrument. Johanna Rose and Javier Nunez prove exquisite advocates of this sensitive and also challenging music. [...] "

Pizzicato, 30.12.2017, Uwe Krusch | https://www.pizzicato.lu/nach-dem-hohepunkt/

" [...] and Johanna Rose, one of these fascinating artists that seem to present herself in the background and then suddenly radiate everything around her with absolute brilliance. Some of the duos with ( Fahmi) Alqhai turned out to be some of the most wonderful moments of the concert. [...] "

concert in the Auditorium in Leon, Spain, with ‘Accademia del Piacere’ commented by Mario Guada.

" [...] The fact that she maintains her residence in Seville is a fortune for her fans who can often enjoy her powerful sound, the agility of her bow and her wonderful musicality in concerts like that on Friday in the Alcázar, where she was accompanied by Miguel Rincón. [...] "

Concert in duo with Miguel Rincón in the Alcazar, Seville. Commented by Pablo J. Vayón.

" [...] Every single instrumentalist gave ample masterclasses in harmony, counterpoint and articulation, emphasizing the lyrical impetus and softness of Johanna Rose on the Viola da Gamba. [...] "

Concert at the festival FEMAS (Seville ) with the ensemble 'More Hispano'.

" [...] The delicacy of her beauty and the sensuality of her gestures merge perfectly with her attention to the instrument from which she is able to extract a silky and homogeneous sound. In addition, she has a remarkable ability to create and modulate with certainty and generosity. [...] "

Concert in duo with Miguel Rincón, commented by Juan José Roldan.