Roberto is London based composer of contemporary classical music, and sound architect for fully immersive sound for dance, film, art installations, symphony orchestra, chamber ensembles, and singers.
A versatile sound colourist, Rusconi fluently weaves elements of classical harmony, avant-garde and ambient soundscapes into the fabric of his compositions. His portfolio includes works for symphony orchestra, chamber ensembles, choir, soloists, as well as electro-acoustic installations and dance performances. His music has been performed throughout the UK, including London, Leeds, Manchester, Cardiff and in Italy, Austria, Spain, China, and others.
De Arte Respirandi
… a gently contoured sound sculpture with dissonance spaced to undo its association with tension…
The Strad 2014, Peter Quantrill
De Imago (Materia) Sonora
The sound world created by the meshing of live and transformed sounds was strikingly fresh, and the grammar of the interactions between the two fascinating to follow.
The Guardian 2013, Andrew Clements
De Materia Nigra et Obscura
Rusconi takes a single block of sound (a particle) and spins from it a set of variations for piano quintet. Each has its own special character, stretching and extending the possibility of sound. There are moments of hesitation, of suggestion, of approach and withdrawal, making tremendous demands on the players. Gradually, Rusconi's original block of sound reassembles itself after being subjected to his forensic dissection.
The Observer 2013, Stephen Pritchard
Roberto Rusconi's music is an exciting range of melody, ambient sound, spoken French text and menacing other-wordy effects, like an intimation of birdsong or the strident breathing of a dinosaur. The connection between the musical and choreographic texts is intimate and complementary: Monin and Rusconi are real finds!
Dance Europe 2017, Mike Dixon
A powerful soundtrack composed by Roberto David Rusconi opens by setting an ethereal, monastic atmosphere and climbs to a cacophony to accompany the beastly acts of Odysseus and his men.
Yorkshire Times 2018, Richard Trinder
Rusconi’s opera convinces and seizes due to its constant calls to the symbolic depth of Greek literature, offering the audience a contemporary opera experience, but with a strong tie to classical theatre.
Il Dolomiti 2019, Alice Nardelli
The music is revealed strong, as Rusconi develops in a circular resonant space and goes beyond the traditional ‘frontal’ listening experience, creating an atmosphere of total auditory participation of the public.
LE SALON MUSICAL 2019, Alessandro Cammarano