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" Yedidia is doing a rare thing in today's musical world: in addition to composing all the works on his concert's program he also masters two instruments - piano and accordion... what he has created in the past two decades is a tradition which attracts many people who are in love with music... what took place on stage was a feast of classical & romantic styles alongside more modern & experimental music including progressive jazz & new age. The final portion featured pure ethnic music which brought the house down."
- Epoch Times, May 2010

"...the Ahn sisters brought a soulful lilt to Ronn Yedidia's graceful 'Song on the Land'."
(following the out-of-doors summer concert at Lincoln Center's Damrosch Park)
-Allan Kozinn, The New York Times, August 2008

"...'The Song on the Land' was written fairly recently by Ronn Yedidia, who is American-educated, but has Jewish roots reaching back to Israel, and perhaps it is that Old World relationship that makes his tune (and the two others he arranged) sound like European baroque from back when the Kings were commissioning works for their courts."
-Hybrid Magazine, 2008 (reviewing Ahn Trio's "Lullaby for my Favorite Insomniac" CD on SonyBMG)

"Just as the Trio's scoring is unique, so is its style: a romantic composition in the vein of 19th and early 20th-century masters... It is a brave thing to do, even in these pluralistic days... The most important thing, once prejudice about returning to the past is put aside, is the question: Does the piece work without sounding like a cliche or a pastiche of old mannerisms ? - It does." (about the Trio for clarinet, cello and piano)

-Seattle P-I, July 2007

"I don't think I've ever heard a piece fuller of opportunities for violinistic vamping... as musical spectacle it was pretty well irresistible - the fast bits and the sultry bits alike." (about Rondo Macabre for violin and piano)
-San Francisco Classical Voice, May 2004

"In the Yedidia 'Lullabye', we heard a painfully beautiful song... Simple lines developed into an expressive canvas of emotion that remains poignant in memory. It's not the complexity that astonishes, it's the detailed dovetailing of lines, of sounds, of melody, intricately and luxuriously woven. It was silent serenity, specifically transcribed for Ahn sound."
-The Virginia Gazette, Williamsburg, April 2003

"Nothing drove that home like Outcries, the Sonata No. 3 by one of Alon Goldstein's fellow Israelis, Ronn Yedidia. It poured out in a single, tempestuous stream of consciousness...A drama!"
- Orlando Sentinel, February 2002

"The Third Sonata, "Outcries", by the Israeli born composer Ronn Yedidia... is of an undeniable modernism, but accessible; that of one who definitely has something to say... the Yedidia transformed the evening into a real event."
-La Presse, Montreal, Canada, July 1991

"Yedidia's Concerto recast the Lisztian virtuoso piano concerto in a contemporary medium... the Concerto lasted just under 30 minutes, but Yedidia's wealth of invention and compact construction justified the duration. (It was) comparable with the restless Expressionism of early Schoenberg and late Scriabin... the composer has his own voice."
-Los Angeles Times, July 1990