Ditta Rohmann is a doctoral student at the Franz Liszt Academy, and from September 2009 she holds a teaching position at the University of Debrecen. She appears as a soloist and chamber musician at festivals both in Hungary and abroad. Recently, she has been playing in the Chamber Orchestra of Europe as a guest.
Ditta has received diplomas with honours from the Academies in Budapest (with Miklos Perenyi) and Basel (with Ivan Monighetti). She has also studied in Boston at the New England Conservatory with Suren Bagratuni.
Ditta has developed her skills at numerous masterclasses with artist such as Bernard Greenhouse, Frans Helmerson, Steven Isserlis, Ferenc Rados and Andras Schiff. She has won several prizes at international chamber music competitions, including Premio Trio Di Trieste and the Orpheus Festival Zurich.
She has been giving recitals throughout Europe since an early age. She has appeared as soloist with the Basel Symphony and many other orchestras in Central Europe. As a guest of the Keller Quartet, she has toured in Germany and Switzerland.
Ditta has recorded for BMC, HUNGAROTON, and several radio stations including MR3 in Hungary and DRS Switzerland. Her recordings of the Bach cello suites for unaccompanied cello have been acclaimed by Gramophone. Contemporary music plays an important role in her activities. She works regularly with living composers in Hungary and has also performed together with reknown composer Sofia Gubaidulina.Recent appearances include solo recitals at the Budapest Spring Festival with the six solo suites by J.S.Bach.
Future engagements include a performance at the Bach Festival in Leipzig, contemporary music festival
in Budapest, solo recitals etc.
Ditta has been teaching at various masterclasses and established a unique international version in Bercel Chateau in Hungary together with László Fassang.
She is open to working in multidisciplinary art fields. The next such project is with the Central European
Dance Company where she not only plays cello, but sings, improvises and takes part in the choreography
Caroline Gil writes in Gramophone magazine, “Rohmann is also able to keep the tempi nimble where
needed but to create an expansive expressiveness in the slower movements, which is particularly noticeable in the mercurial Second Suite. Her unusual but historically informed ordering of the Suites ends with the most complex, the Sixth, which she plays on a five-string piccolo cello. This retains the original chordal textures, placing of open strings and resulting harmonic effect that combine to create a ghostly sound that brings yet another facet to these masterworks, and brings to an end a project that should file Rohmann’s two volumes (the first was reviewed in May) on the shelf under ‘definitive’.”