“Composer Robert Saari’s works are beautiful gems of the American vocal literature. Vocalists can rejoice in the beauty of his melodies and sensitive settings of these lyrical gems.”
— Roberto McCausland-Dieppa, International Concert Pianist
“In composer Robert Saari’s presence, his song triptych When the Forsythia Bloom opened its soft and delicate pedals. Romantic and conventional, these young songs were nothing if not beautiful: contemporary and timeless in content, with a charming American accent in the second part, Faceless, and gently soaring melancholic in From a Dream.”
— Jens F. Laurson, ionarts, 10/13/06
“Robert Saari displayed a winning, plain-spoken melodic gift in his song cycle When the Forsythia Bloom.”
— Richard S. Ginell, Los Angeles Times
“The modern selections on the program by composer Robert Saari were also accessible and attractive. The bright, open expression felt like an American Ralph Vaughn Williams, in a romantic popular mode leaning toward Broadway but heartfelt, often in a minor key.”
— Thomas Aujero Small, ConcertoNet.com, Los Angeles
“[Denyce] Graves returned with the world premiere of Robert Saari’s When the Forsythia Bloom, a three-song setting of poems penned by the composer’s wife, Susan Jenkins Saari. Graves’s approach to the reflective music made it sweetly accessible on a first hearing.”
— Grace Jean, special to The Washington Post
“Asked about the Saari [Denyce] Graves said, ‘When Warren started playing [the Saari], even in the first two measures, I said, ‘I love this. I love the fact that they’re American,’ It’s really a no-brainer to program them.’”
— Craig Smith, The New Mexican
“The undercurrent was coming from patrons, who were emoting in their seats to particularly moving pieces such as Robert Saari’s fresh composition, Faceless.”
— Harriet Howard Heithaus, Naples Daily News
“’I’m singing music I love,’ [Denyce] Graves said by phone. ... ‘I am inundated with music from composers all the time, but I do look at everything I get. Robert sent me a ton of musical scores. I sat down and read through all his music. It was wonderful. It was hard to decide what to do.’”
— Emily van Cleve, Albruquerque Journal
“The Introits ... as small forms are exquisite and the choir adores them. They seem to have a leanness of organization that I admire in other composers such as Copland ... nothing out of place.”
— G. Dene Barnard, Organist and Choirmaster Emeritus,
First Congregational Church, Columbus, Ohio