“This young American’s really remarkable accuracy in playing the most difficult passages is certain to cause many a trained fiddler to mop his forehead in amazement.” American Record Guide, July 1951 (Paganini Caprices)
“I look forward to more discs by this first-rate duo … His natural elegance … stands him in good stead in the Prokofiev, where his partner at the piano also distinguishes himself by some most artistic leggiero playing.” Gramophone, October 1953 (Prokofiev & Strauss Sonatas)
“There is some truly amazing fiddling here … combining faultlessly brilliant technique with unusually warm tone … A ‘must’ for all violinists.” High Fidelity, October 1954 (Paganini Concertos)
“Mr. Ricci plays them smartly, giving full value to their daring and rather insolent romanticism of 1810.” High Fidelity, December 1954 (Weber Sonatas)
“In a class by itself aloof from the competing editions. Persuasive lyricism from the soloist, very sensitive orchestral leadership, and gracious sound at all points of its range.” High Fidelity, January 1955 (Beethoven Concerto)
“Ricci’s ease of execution has already established him as a first-rank violinist despite his relative youth, and this is displayed here to a remarkable degree. Fistoulari and his Londoners play with precision and feeling throughout, and the balance between soloist and orchestra is well-nigh perfect.” American Record Guide, July 1957 (Khachaturian Concerto)
“[Ricci’s Bruch Concerto] has dignity of conception, an appropriate romantic flow, a glowing tonal characteristic, and an easy command of the mechanics involved. Ricci’s Mendelssohn is also excellently done.” High Fidelity, September 1957 (Bruch, Mendelssohn – Gamba)
“Ricci and Katchen display an impressive understanding of this literature, and the ability to handle the intricate problems of technique, weight, colour and texture with finesse and astute interpretative insight.” American Record Guide, November 1957 (Brahms: Sonata No 2)
“In beauty of tone and in technical address Ricci is near the top among the many fiddlers who have recorded these works … Excellent recording.” High Fidelity, March 1958 (Bach)
“This, the first stereo representation of the Sibelius Concerto, is likely to remain unchallenged for a long time … Ricci is second only to Heifetz in his intrepid technical and virile interpretative traversal.” High Fidelity, August 1959 (Sibelius)
“Astonishingly assured combination of virtuosity and poetic sensibility … so fresh and vivacious that it might have just been composed for Ricci himself. His uncanny technical security has never been more electrifyingly demonstrated.” High Fidelity, April 1962 (Tchaikovsky Concerto – Sargent)
“Ruggiero Ricci is still a prodigy, but a manure one. A violinist possessed of a flawless technique and a silvery tone, Ricci is today a master of rare interpretative skills, and ills: present recordings bear eloquent testimony in this regard.” Stereo Review, April 1962 (Tchaikovsky Concerto – Sargent)
“Ricci’s performance is close to perfection throughout, and so is the recording.” High Fidelity, May 1965 (Hindemith, Bartók, Stravinsky)
