Basler Zeitung / Basle News, May 2008
Last Minute - Alice Sara Ott steps in for Murray Perahia.

[...] To tackle a programme featuring Beethoven's "Waldstein Sonata" and Liszt's "Etudes d'exécution transcendante" in one go, one would have visualized a man of might emerging at the keys. Imagine the audience's amazement to witness a young lady scarcely 20 years of age gracefully seating herself at the piano. Alice Sara Ott approached the Beethoven sonata in an aura of splendid serenity, which, even in those early opening bars, betrayed a cultivated touch combined with remarkable dynamic breadth covering the entire tonal span. [...]
=SCINTILLATING PERFORMANCE = Her performance of the "transcendental", the non plus ultra among the Liszt Studies as viewed from the angle of technical difficulty, literally tore the audience from their seats - to be met with standing ovations at the Basle soloist concerts is something really rare if not the exception! Even in a sound recording studio, rendering of the Liszt cycle is generally considered to be a feat of great daring and one seldom accomplished by any of the great pianists. To witness this work performed live on stage is little short of a sensation […]
Alice Sara Ott deliberately avoids key-thudding basses. Her left hand moves over the keys with extreme nimbleness and lithe grace, while the right hand is constantly at work moulding and enhancing the melodic contours of the upper part with artistic phrasing enriched by a rubato that really breathes. These tonal ideals may perhaps deny "Feux follets" something of its boldness and modernity, but nevertheless turn the "Eroica" into a luminous character-piece reflecting Beethoven heroic grandeur. Just as conspicuous is the way she exploits her muscular forces and converts them into instruments of artistry applied to the flurry of the "Wild Chase" and smooth, virtually non-palpable transition to the "Ricordanza" with its evocative Chopin idiosyncrasies. The final pieces, "Harmonies du soir" and "Chasse neige", proved veritable highlights, as indeed these masterpieces for piano really are. The task of performing them after seventy minutes of extreme mental and physical exertion should not be disregarded either. (Markus Erni, 14.5.2008)




"Reutlinger Generalanzeiger" / Reutling General Advertiser, March 2008
Mademoiselle Liszt - The young pianist Alice Sara Ott starring in the chamber music cycle staged in the Liszt Hall elicited one sleight of the hand after another from the instrument in breathtaking displays of virtuosity enhanced by a sparkle of poetic charm [...]

The young lady demonstrates complete mastery of technique and triumphs with perfect ease over each and every complexity, no matter how gruelling,. This clearly became evident in her awe-inspiring rendering of Liszt's "Etudes d'exécution transcendante". She chose to tackle the complete set of these formidable compositions known for their remorselessness in virtually tearing the instrument and the pianist's fingers apart. Here, the mind and skill of the virtuoso was clearly at work in all its different facets: vibrant, power-laden potential, joie de vivre, abundance of tone-colour and subtlety of touch with fingers constantly at work executing the overwhelming profusion of notes congesting the score - all in poetic sublimity - a tour de force that simply causes one to in fall into a faint of incredibility or respond with cries of wild enthusiasm.
This is a pianist capable of doing anything and everything. Whatever she lays her hands on transforms itself into sheer musical artistry. This was clearly perceptible in the intensity and dignified splendour applied to the violent hurricane of octaves encumbering the "Mazeppa Study", balletic vibrancy and scintillation distinguishing "Feux follets", hymnic grandeur of the "vision" expressing the heroic pathos abounding in "Eroica", mesmerizing transition from bold aggression to lyrical cantabile contours in "Chasse sauvage", contemplative reverie and passion in "Ricordanza" with a distinctive touch of calm crystal sparkle imparted to the Arabesques or depth of focus and sonority applied to the two final etudes - what the audience experienced here was the enigmatic art of piano-playing par excellence. And Alice Sara Ott simply rises from the piano stool with a charming smile as if nothing had happened at all. (Hansdieter Werner)



"Reutlinger Nachrichten" / Reutlingen News, March 2008
Witnessing the birth of a genius - piano recital starring whiz-kid Alice Sara Ott

Alice Sara Ott began to play the piano when she was four and won her first prize at the early age of seven. From 13 years onwards she was qualifying for international awards and filling her diary with official engagements. Now, at the age of 19, she has just completed her first spectacular CD recording of works by Franz Liszt. Her concert repertoire clearly indicates that she has every intention of following in the footsteps of the great maestros that once held the world under their spell.
Ludwig van Beethoven is another composer she approaches from the angle of the virtuoso. Her rendering of Beethoven's Sonata No. 21, the "Waldstein" Sonata, followed a quasi-extempore scheme, exhausting the enormous dynamic span it contains with both agility and feeling. Here she resorted to fine distinctions of touch, introducing subtle tinges of tonal colour and expression to paint the scene and skilfully contrasting the various divisions by warm, mellow treatment applied to the second subject of the head movement offset by dynamic breadth in pace with the progressing course of development. As if emerging from some sudden impetus, the second movement sauntered on a bracing "preludic" and quasi-extempore course prior to meeting up with the final rondo, which savoured not so much of strict "classicism" than of unbridled, passionate romanticism. Immersed in an overwhelming cascade of tonal hues, moods and emotions, one had the impression of enjoying a symphonic poem in the style of Liszt, a genre she obviously delights in.
Colossal if not superhuman demands are made on all executants out to surmount the complexities of piano technique frequently posed by Franz Liszt. The designation "d'exécution transcendante" in the title of the Liszt "Études" is not appended without good reason. It not only presents a bold challenge from the angle of execution, but also calls for transcendent genius - a step into the world of the supernatural. What the young virtuoso succeeded in achieving here can only be described as phenomenal! For well over an hour and with no apparent effort, her hands spun and pirouetted over the keys, eliciting a brilliant and stunning display of spontaneous artistry br> Her technique and precision is little short of a miracle, no matter whether this term is used to describe the rich profusion of rapid arpeggios, impressionist tonal mystery, darting will-o'-the-wisp patterns or orchestral resplendence. With perfect ease she explores the limits of the instrument without ever losing sight of the aesthetic, while continually out to respond with musical contrast: the veritable wild chase offset by "Ricordanza", a rich palette of tonal colour and impression, the sprinting Presto - a refreshing bath in euphony and a cornucopia of exuberance followed by incredible austerity applied to the final chords - exquisite and magical! [...] (Susanne Eckstein)



"Nordwest-Zeitung" / Northwest News, January 2008
Saxon Theatre Orchestra gives Guest Performance in Wilhelmshaven - Warm Tone

Fifth symphony concert staged in the City Hall this season starring pianist Alice Sara Ott. The eighteen-year old Munich artist of German-Japanese descent excelled herself on Thursday in ............'s Piano Concerto No. 2 in F-Minor, Opus 21 [ ... ]
The mature approach of this young executant to reading and interpreting the score is astounding, the same applying to the broad spread she applies to the Larghetto and with what ease and self-confidence she tackles the runs, imparting exquisite sparkle and making them twinkle like tiny stars in the night. [...]
The whole brilliance came to fruition in the finale in which she swept over the keys nimbly and graciously reminiscent of a prima ballerina, adding further lustre to the whole in the encore: Chopin's Waltz No. 14 in E-Minor, Op. Posthumous. At last year's Sleswick-Holstein Festival she was simply idolized, which hardly comes as a surprise! Her technique and artistry, her "joy-to-behold" pulchritude and aplomb form what one might virtually term as being a "synthesis of the arts". A delectable subject for Claude Monet to have painted, had he have been around. [...]



Sleswick-Holstein Festival, July 2007
Savings Bank Finance Group's Promotion Award goes to Piano Virtuoso Alice Sara Ott

One had the impression that the music was flowing though every fibre of her body and as if her body language was interpreting the intensity of each single note. Eighteen-year old Alice Sara Ott not only masters the pieces she plays - she also senses them deep down, both psychologically and spiritually. With such remarkable talent thrown into the ring, it did not come as a surprise to those familiar with the music scene to witness the young German-Japanese pianist carrying away the Savings Bank Finance Group's Promotion Award worth 5,000 Euros at the Sleswick-Holstein Festival (SHMF) staged in 2007.
Three young pianists had assembled in the converted indoor riding arena of Wotersen Manor, a baroque estate situated in the Duchy of Lauenburg, to compete for the 5,000 Euro award. Alice Sara Ott was a clear favourite right from the outset and comfortably held her own against contestants Haiou Zhang (23) of China und Anastasia Zorina (18) of Jekaterinenburg (Russia). No small wonder that she emerged as star of the event and additionally qualified herself for the audience's award, topping the prize-money by a further 500 Euros.
The young pianist gave a luminous display of tone colour to the capacity-drawn audience numbering some 1,000 listeners. Her rendering of Beethoven's "Apassionata" embodied tinges of sombreness and sublime dreaminess offset by dashes of dazzling scintillation, all executed with a technique beyond compare. Initial bravo responses were unleashed by Franz Liszt's "Campanella", in which she demonstrated both judiciousness of interpretation and dexterity. The artist, a student at Salzburg's Mozarteum, has been hailed by the critics as a grand musician as distinct from "breakneck stunt effects" often associated with would-be child prodigies. After winning an international piano competition at the age of 15, Alice Sara Ott has long since become a familiar figure in concert halls spread all over the world (Sleswick Holstein Music Festival) Translation by Thomas Ball, Freilassing



"Cream of the Crop at Ruhr Piano Festival", May 2007

RUHR PIANO FESTIVAL. Alice Sara Ott, who had stepped in for Elena Bashkirova, succeeded in winning the hearts of the audience and unleashing a thunderous storm of applause for her stunning performance. The graceful physique of this young pianist, just turned eighteen, was delusive to say the least - that is until she sat down to do full justice to Beethoven's "Appassionata" and Franz Liszt's complete cycle of "12 Études d'exécution transcendante" - at one go - complemented on top of everything by Liszt's "Campanella"! Nightmarish to many perhaps, but an ordeal from which she emerged as fresh as a daisy. To the uninitiated, this would appear to be an example of youthful exuberance if not sheer folly. However, those who have come to appreciate the scintillating performances of this German-Japanese artist are no longer taken aback by the genius behind it all, notwithstanding Alice Sara Ott's tender age. The fact that she is fully up to the musical and physical demands imposed by the Liszt Cycle- incidentally never performed by the composer himself in public - is borne out by her interpretation of the work to international audiences on more than one occasion. This was endorsed by yet another rapturous ovation in the packed Gebläsehalle of the Landschaftspark Nord, scene of the Ruhr Piano Festival.




Sueddeutsche Zeitung, Jan. 2007
"Sheer Delight" - Recital at Munich Herkulessaal

Even the overture to the recital is a fascinating ritual. Alice Sara Ott pauses at the keyboard deep in thought and concentration, commanding absolute silence from the audience seated in the Hercules Hall. In this electrifying atmosphere of self-composure, she then proceeds to invoke those dark enigmatic spirits lingering deeply in Beethoven's Waldstein Sonata. A luminous cascade of sound emerges from the palette of the young artist - sombre, pensive, bathed in broad tonal texture, scintillating, enhanced by delicate nuances of light and shade and a technique exceptional beyond all doubt. Not a single trace of cheap showmanship frequently encountered when whiz kids appear in public. This is musicianship at its finest evolving from a fully-fledged 18-year old!
To apply such focus and intensity to this virtually stagnant yet pious Adagio-Introduzione in such an ambience of serenity certainly takes some doing. An atmosphere of calm before the storm breaks loose in the devastating Rondo that follows, a virtually untamed beast, pounding along with brute force, interlaced with melodious mellifluence and vibrating with apparently never-ending shades of tonal contrast. Those convinced that no further heights are capable of being attained in the performance of Liszt's twelve "Études d'exécution transcendante" - universally regarded as a humanly impossible strong-man act - are mistaken! The very thought of taking on the entire cycle with its phenomenal muscular challenges is likely to be dismissed as pure folly. Ott does more than just master this veritable marvel of technique; she applies artistry to the whole. Daredevilry alone will not do. […] Ott lends a personal, almost overwhelming poetic charm to this splendid music, transporting her listeners into ecstatic delight. Andreas Pernpeintner


Passauer Neue Presse, Oct. 2006

The ceremonial fanfare heralding the first movement of Peter Tchaikovsky's Piano Concerto No. 1 in B-flat Minor may be sensed as a triumphal proclamation. Alice Sara Ott approached the famous first three chords with unfathomable suspense and powers of conviction that virtually mesmerized the hundreds of listeners with their eyes riveted on her, holding them spellbound right to the very end. In shaping the contours of her performance, Ott applied varying degrees of agitation, working up to her central role in the virtuoso passages, always ready to assume the accompaniment of the orchestral solo episodes which she accomplished with a sense of musical charm and elegance. Her wide-ranging technique and vibrant shades of tone colour were absolutely bewitching. The piano was made to sing, purr, glow and roar, responding to each and every command given by the 18-year old artist. Ott not only possesses an amazingly mature technique, she savours the music to the full with appassionato, and certainly put her very soul into this bravura performance.


Donaukurier Ingolstadt, Oct. 2006

Every single eye was fixed on the 18-year old German-Japanese pianist, Alice Sara Ott, who claimed the undivided attention of her listeners through to the very end, leaving them spellbound. Alice Sara Ott certainly knows how to conjure up a convincing firework display from the keys and obviously delights in mastering obstacles of piano technique, swift octave passages and fortissimo thunderclaps, all of which she employs to lend wings to her glowing performance. Notwithstanding her gracile appearance, this young pianist is a marvel at expressing tonal dynamism and is just as communicative when it comes to letting out inherent brute force and vitality. Her impressive demonstration of kinetic energy applied to the Shostakovitch Concerto made an indelible and impressive impact on the audience. The crystal-clear definition of her runs results from the percussive staccato-like technique she applies - mystifying if not altogether unique!


Basler Zeitung, Sept. 2006

The Ravel Concerto in G Major conducted by David Zinman would appear to have been created specially to demonstrate Alice Sara Ott's natural exuberance. The lively ping-pong dialogue she engages in with the Zurich Tonhalleorchester in the head movement simply abounds in wit, whilst she applies esprit to developing the classicist under-cooled Adagio (taken at an extremely slow pace!) before bracing herself for the plunge into the whirling current of the finale. Her choice of encore - Liszt's "Campanella" Study, a bravura item reflecting the spirit of Paganini - gave her yet another opportunity of displaying her immaculate keyboard technique and wizardry with which she virtually hypnotized her audience.


Festal Soiree at Wahnfried House, Bayreuth, Aug. 2006

She performs the mind-blowing miracle of combining highest standards of virtuosity - in the sense derived the Latin term "virtus" (i.e. "virtue") after Liszt - with personal musicianship [...] - in the "Études d'exécution transcendante", Alice Sara Ott interprets the whole broad spectrum of Liszt's Symphonic Poems. Roaming between rolling bass indulgences and filigree soprano bliss, the executant draws on her powers of insight and aural empathy to fathom the very depths of these twelve monumental compositions [...] Alice Sara Ott imparts lucidity to the impenetrable depths of Liszt's music: she enters into a bond with each individual sentiment, amplifying it and imparting optimum presentation to the whole as this might well have been sensed in the mind's eye of the composer… Thus each single note appears to constitute an individual thread in a costume of sentiments and emotions which Ott weaves before our very eyes with stupendous brilliance and commitment [...] we are left astounded - perhaps in the same way as audiences once marvelled at the genius of young Liszt himself. (Nordbayrischer Kurier, Frank Piontek)


Sueddeutsche Zeitung, April 2006

Her debut recording of Liszt's works turned out to be a capital visiting card. Now, two years later, Munich-born Alice Sara Ott of German-Japanese parentage performed almost the entire contents of this CD on stage at the Herkulessaal with more to follow. Just turned seventeen, she went to extremes to demonstrate her acrobatic skills and displays of virtuosity as became apparent in the brilliant performance of Beethoven's Sonata Appassionata. The opening section of the work had an air of mysterious magic about it, as if hushed in a veil of secrecy. Sara Ott treated the ascending and descending triadic arpeggiation in F minor and G-flat minor employing whispering piano-pianissimo undertones before breaking out into a sudden cyclonic storm that certainly shook the listeners from their seats. These attacca techniques go to show what potential reserves this young pianist has in store, while also revealing the concept she applies to rendering the overall sonata and basing it on extreme dramaturgical contrast. Thus a state of hypertension hovered in the air offset by sophisticated shades of tonal colour, borne along by a driving impetus and all forming part of a well-devised architectural scheme. The Andante con moto was kept softly embedded in a gently flowing stream before the portals were majestically flung open for the finale. [...] By comparison, celestial serenity and enchantment prevailed in the first of Liszt's Consolations equalized by calming repose expressed in the Schumann Romance with which she responded as an encore. Indescribable too, the astounding naïvety with which Alice Sara Ott announces the theme of Mozart's Duport Variations before proceeding to shape and breathe life into each individual variation. (Klaus Kalchschmid)



Ruhr Nachrichten, Dortmund, 2005
"Piano Volcano Erupts" - Keyboard Festival starring 17-year old Alice Sara Ott

Audiences attending "The Next Generation II" Festival staged at the Harenberg-Haus in Dortmund have witnessed many young pianists, but none like Alice Sara Ott. The recent piano recital in the concert series featuring this 17-year old whiz kid will remain in concertgoers' memories for a long time to come. At home in Munich, Alice Sara Ott ranks among the greatest talents representative of her generation. One simply marvels at her pianistic perfection, mature style, eloquence and dynamism. Listening to this student of the Salzburg Mozarteum Professor, Karl-Heinz Kämmerling, it is as if one were witnessing a mighty volcano unexpectedly erupting from the depths of the earth, discharging iridescent splashes of tonal magic, whilst restraining a submerged firestorm of emotion smouldering beneath a cantabile concealed surface. Heaven knows how the 17-year old rising star summoned up the stamina and condition to present such a gargantuan programme comprising Schumann's Character Scenes offset by Beethoven's "Appassionata", Liszt's "Consolations" and Paganini's Six Studies, responding with the Liszt Hungarian Rhapsody No. 2 as an encore! Of apparent slender stature and gracile carriage, the young pianist succeeds in igniting a veritable firework display from the keys under her control with the aplomb of an artist 20 years older. The same applies to the vibrant expression and emotional depth she injects into Schumann's works and Liszt's chorale-like "Consolations", clearly outdistancing performances given by pianists of the same age. [...] Again, when rendering the silvery high-pitched bell tones of Liszt's "La Campanella" Study, a distinct tinge of poetic charm can be perceived amidst a raging tonal inferno. One rarely hears the Beethoven Sonata permeated with such spontaneity and subtle emotion as that distinguishing Alice Sara Ott's interpretation. Standing ovations for one of the most remarkable recitals given during the Festival. ( Julia Gaß )



Mainichi Shinbun, Japan, 2005
(Tchaikovsky's Piano Concerto No. 1 with the Sapporo Symphony Orchestra, guest conductor Anu Tali) "Bursts of enthusiasm unleashed after a fascinating and brilliant performance in perfect blend with the orchestra" b>

[...] impressive build-up, enhanced by contrasting shades of tone - a fantastic interpretation. Superb performance, devoid of self-complacency, with a mind fully focused on the orchestra - a wonderful Tchaikovsky rendering [...] I speak for others in expressing my fondest wish to experience Alice Sara Ott in concert again with the Sapporo Symphony Orchestra (Yoshio Taketsu)



Kissinger Summer 2005, Bad Kissingen

Alice Sara Ott tackles the "Appassionata" with a bold assertive approach and knows exactly what she is out to achieve - right from the very first note! [...] What the listener is continually reminded of is the fact that the stage-performer is a young person under 17 years of age, a child prodigy! What impresses one most is the logic and judiciousness behind her playing. Nothing sounds mechanical or drilled [..]. On the contrary, what she accomplishes is the result of sound, individual reasoning.
Alice Sara Ott cultivates a smooth, vibrant tone in a whole variety of different shades and at all levels of volume. Loud passages, while betraying muscular strength, reveal no trace of harshness or hostility. [...] The same professionalism is applied to the Paganini Etudes and the onerous demands they impose on a pianist's technique. Alice Sara Ott is not the one to tremble at such endurance tests and the maximum penalty they carry. Quite the opposite is true: She approaches the studies with an air of self-control and composure, even appearing to revel in the performance and treating the difficulties as a matter of course, while riveting her attention on the musical content capable of being derived from such works. When performing "La Campanella", she even dons a smile of satisfaction as the high-pitched bell tones produce the desired cantabile effect. Then she proceeds to do justice to Etude No. 5 "La chasse" where the music well and truly takes off. That's how Liszt can really be made to sound great.



Mitteldeutsche Zeitung, Halle, 2005

Many have aspired to conquering the Mount Everest of piano literature, namely Edvard Grieg's Piano Concerto in A Minor. Virtually no-one has succeeded in interpreting the work with the same debonair, dramatic and passionate approach as that adopted by Alice Sara Ott in concert with the Halle State Philharmonic Orchestra under the baton of Hans Rotmann.
The 16-year old artist responded with crystal-clear tonal contours and discreet coalescence, resulting in sophisticated overall blend with the orchestra, devoid of cheap showmanship acts normally associated with performances of this work. With a youthful resoluteness and sense of purpose, she handled the keys as one would employ a fine chisel, sculpturing out the lyric theme of the first movement with rhythmic precision. Amidst all the romantic atmosphere of suspense, she employed her skills to weaving fine tonal adjustments into the solo cadenza. This consistent, unpretentious style of pressing forward with the work showed no signs of impassivity and was in full alignment with Hans Rotman's dynamic baton technique.
The reciprocal orchestral and piano incursions gave way to growing intensity and powers of expression, especially in the second movement as well as in the inherent musical images of the final movement, etching indelible impressions on the audience's mind. This invigorating and astounding interpretation even shook the dust off the stylized folk dances and sent them scintillating with vibrancy across the keyboard.



Süddeutsche Zeitung, Munich, 2005

[...] inspired, breathtaking tonal pictures. The "Consolations" revealed velvety lustre enhanced by a smooth, flowing cantilena line, while Liszt's Paganini Studies and Hungarian Rhapsody No. 2 abounded in dynamism and virtuoso skill, executed with an air of self-confidence.



Audi Summer Concerts 2005, Ingolstadt

Just turned 16 years of age, Alice Sara Ott held listeners spellbound with her spirited performance of Grieg's Piano Concerto with the Halle State Philharmonic Orchestra, displaying ample reserves of energy to master the commanding passages and cadenzas, offset by a tender touch imparting serenity to the lyrical episodes. The audience expressed its gratitude with an outburst of applause, which Alice Sara Ott reciprocated in her own way - with the highly taxing "La Campanella" Etude by Franz Liszt - which earned her an even more rapturous ovation.


Augsburger Allgemeine, 2005

In performing Robert Schumann's Allegro Opus 8, sixteen-year old Alice Sara Ott made her presence felt right from the very first note. The audience was confronted with the very opposite of a good girl on her best behaviour merely out to produce a string of sounds easy on the ear. Seated here was someone fully capable of eliciting the hidden potential from the tonal resources of the instrument to the full extent. The ease with which her technique comes across is absolutely astounding [...]. What is even more amazing, however, is the courage she displays when coming to terms with the romantic ambience, donning an attitude of disarming frankness and devotion combined with the facility to descend to the unfathomable depths of the soul with continuous smoothness, gliding with ease along a roller coaster of dreams. Is that how one really dreams at the age of sweet sixteen? [...] The moment of pianistic truth came with Ludwig van Beethoven's Sonata in F Minor, Opus 57, the "Appassionata". With a countenance of charm and grace, and absorbed in a mesmerized frame of mind, Alice Sara Ott introduced the main theme in a sentiment of melancholy, as if sounding out the throbbing pulses of the heart, down to the soft four-note figure embodying palpitations of "doom". No doubt about it, this is a pianist miles ahead of her time, reflected both in her mature interpretations and incredible technique.


Euro-Classic Festival 2005, Pirmasens

[...] A grand climax in which 16-year old Alice Sara Ott lived up to her reputation as "one of the potentially greatest pianists of the future". Her musical temperament and the obvious joie de vivre she derives from her performance would appear to know no bounds, the same applying to her brilliant technique and her ability to strike a poetic vein as became apparent in the soothing strains of the Adagio. Michael Helmrath and the vigilant orchestra under his baton, luxuriating in a rich tonal palette, proved congenial escorts to the young artist in shaping and conveying the musical message. The response from the audience in the packed Festival Hall was absolutely electrifying, with one round of applause after another.


Festival Soiree at Wahnfried House, Bayreuth, 2004

Listening to Alice Sara Ott and witnessing the spontaneity of her performance as well as her keen sense of detail applied to the "Grandes Etudes de Paganini" (those daunting concert studies noted for their ruthless demands on technique) was an exhilarating experience.
[...] Notwithstanding the extreme intricacies with which this pianistic firework display is beset, Alice Sara retained her powers of concentration and overall control throughout, endorsing the qualities she had already demonstrated in her official programme and thus furnishing proof, despite her youth, of having progressed far beyond the problem-surmounting stage. Convincing linear construction, individualistic in some cases, provided further evidence of Alice Sara Ott having made gigantic strides forward in the development of her artistic personality. The vigorous momentum applied to the Allegro h-moll Op. 8 by Robert Schumann, with which she began her recital, provided access to Schumann's musico-intellectual world in all its uninhibited transparency.




Salzburger Nachrichten, Salzburg

"A talented young musician with the qualities of Alice Sara Ott of Munich always claims attention at events such as the Prize-winners' Concert staged at the International Summer Academy. Just turned fourteen, she has been scooping one award after another over the past seven years, an exploit not merely confined to youth festivals. One would hardly think of confronting this gracile young contestant with the complexities of Liszt's "La Campanella" Study owing to the finger stretching capacity it entails. She is anything but a hobgoblin on the keys, as testified to by her delicate rendering of the bell tones in the treble range, perceived as if from afar. All the more astounding the effect when she eventually does release energy and force........the practical value of the award then ranks significantly higher. The hallmark "Internationale Sommerakademie Salzburg" in itself reflects high market value."



Frankenpost, Hof

"Alice Sara Ott of Munich ranks among Germany's great budding young pianists. The stunning display of finger technique emanating from the 14-year old Munich pianist imparted incredible joie de vivre to the rendering of the Hungarian Rhapsody … Notwithstanding the dazzling tonal-cascade effects, her touch remained meticulously precise…"



Die Welt, Hamburg

"The Steinway contest held in the Music Hall ended in a stunning victory for eleven-year old Alice Sara Ott of Munich with a piece normally associated with the repertoire of fully developed virtuoso performers. As small as it was, her right hand leapt back and forth over the keyboard with unerring acrobatic skill. She also qualified for the Audience's Prize awarded for the first time."


Translations by Thomas Ball, Freilassing