"Listening to several works by W.A. Mozart played by the Brazilian pianist Sonia Rubinsky, I felt an intense and rare emotion : faced with these sublime and transcendental interpretations by Sonia, I place her without hesitation alongside Guiomar Novaes, Clara Haskil and Maria João Pires. Her choice of Mozart's works, showing various phases of his brilliant career, makes the listening experience always interesting, diverse, and never tiring." – Almeida Prado

"This is my first CD, and it aims to bridge between repertoires and to celebrate an aestheticism made of colors, first and foremost. Messiaen, Debussy and Villa-Lobos are rarely associated together and this program highlights the originality of these three giants of the 20th century."

"Vladimir Horowitz said that it took "at least one Rachmaninov to make a third-rate piece (referring to Beethoven's Turkish March) a work of art." Without discrediting these composers in any way, this quotation applies fully: giving charm and nobility to this music!"

"I have always had the greatest admiration for Scarlatti’s music, which for me represents invention and creativity. The expressiveness present in his works will delight any music lover."

"A repertoire inadvertently recommended to young pianists, the Songs Without Words are wonderfully balanced little pieces, of romantic inspiration. Performing them is an exercise in style and virtuosity, like an actor reciting haikus."

"There are objectives that are titanic, like recording the complete works for solo piano by Villa-Lobos, which has taken thirteen years, a task that I had already begun to outline during my doctorate at The Juilliard School of Music which was on the formidable piece ‘Rudepoema’."

"There are objectives that are titanic, like recording the complete works for solo piano by Villa-Lobos, which has taken thirteen years, a task that I had already begun to outline during my doctorate at The Juilliard School of Music which was on the formidable piece ‘Rudepoema’."

"There are objectives that are titanic, like recording the complete works for solo piano by Villa-Lobos, which has taken thirteen years, a task that I had already begun to outline during my doctorate at The Juilliard School of Music which was on the formidable piece ‘Rudepoema’."

"There are objectives that are titanic, like recording the complete works for solo piano by Villa-Lobos, which has taken thirteen years, a task that I had already begun to outline during my doctorate at The Juilliard School of Music which was on the formidable piece ‘Rudepoema’."

"There are objectives that are titanic, like recording the complete works for solo piano by Villa-Lobos, which has taken thirteen years, a task that I had already begun to outline during my doctorate at The Juilliard School of Music which was on the formidable piece ‘Rudepoema’."

"There are objectives that are titanic, like recording the complete works for solo piano by Villa-Lobos, which has taken thirteen years, a task that I had already begun to outline during my doctorate at The Juilliard School of Music which was on the formidable piece ‘Rudepoema’."

"There are objectives that are titanic, like recording the complete works for solo piano by Villa-Lobos, which has taken thirteen years, a task that I had already begun to outline during my doctorate at The Juilliard School of Music which was on the formidable piece ‘Rudepoema’."

"There are objectives that are titanic, like recording the complete works for solo piano by Villa-Lobos, which has taken thirteen years, a task that I had already begun to outline during my doctorate at The Juilliard School of Music which was on the formidable piece ‘Rudepoema’."

"BACH: These few letters sometimes symbolize for pianists, if not fear, at least the systematic impossibility of finding freedom. In order to be able to transcend this difficulty, I studied for some time with Nicolau de Figueiredo, himself a student of Scott Ross, and then with Edmundo Hora, recreating three large suites of dances to better present their essence to the audience."

"BACH: These few letters sometimes symbolize for pianists, if not fear, at least the systematic impossibility of finding freedom. In order to be able to transcend this difficulty, I studied for some time with Nicolau de Figueiredo, himself a student of Scott Ross, and then with Edmundo Hora, recreating three large suites of dances to better present their essence to the audience."

"BACH: These few letters sometimes symbolize for pianists, if not fear, at least the systematic impossibility of finding freedom. In order to be able to transcend this difficulty, I studied for some time with Nicolau de Figueiredo, himself a student of Scott Ross, and then with Edmundo Hora, recreating three large suites of dances to better present their essence to the audience."

"My mission as a performer is to honor composers by bringing their music to life with all its vigour. This is especially true with Almeida Prado. In addition, his friendship of so many years was very dear to me. I am particularly pleased to have been able to record these three concertos with conductor Fabio Mechetti and his orchestra (OFMG); together, the telluric power, like a Prokofiev concerto, and the iridescent colors in all its nuances of José Antonio Almeida Prado’s music could finally be expressed."