"Alice Sara Ott is a remarkable talent and her account is a significant achievement full of interest." 

"Her affinity with Liszt’s mode of expression is nowhere in doubt; her held-breath Paysage is every bit as impressive as the octave explosions of Mazeppa. Her expressive cantabile, too, is hypnotic, while the traceries of Feux follets and Ricordanza are simply delicious and contrast well with the diabolic Wilde Jagd. The recording is top flight and captures Ott’s huge variety of touch and sound perfectly.

"Already one senses she is searching for the depth within, and her aim seems to be to unearth the sheer diversity inherent in this music (...) Overall, Ott presents a superb, modern appendix to the great recordings of Cortot, Lipatti and Rubinstein.”

"The playing is often flighty and graceful, and shows some moments of wonderful intimacy, as if Ott were breathing soft secrets into your ear.”

"Her technique is ­dazzling, her tone ­wonderfully varied, from ­crystalline purity to powerfully raw, and the energy propelling her playing seems unstoppable.”

"Only out of her teens, she leaves you to marvel at her instinct for Chopin’s poetic ambiguity, his alternating melancholy and exuberance, his ultra-Slavonic hope and despair, her playing backed by the sheen of an immaculate technique and pianism. You will go a long way to hear the A minor Waltz confided with a greater sense of its intimacy or the following F major Waltz given with such contrasting brio and expressive freedom. Her D flat Waltz, op 63 is sufficiently stylish and elegant to make nonsens of its sobriquet, „Minute“ Waltz and she catches the B minor Waltz’s gentle but querulous mood to perfection.”

"Even at her young age, Ott is able to convey the sadness that lurks beneath the glitter (Chopin’s life was blighted by ill health and unrequited love). Her phrasing of the more light-hearted passages is also spot-on. Perhaps it takes one child prodigy to faithfully interpret another.”

"Ott displayed stunning technique in Liszt’s Concerto No. 1 in E-flat Major. An immense talent who effortlessly tackled cascades of glittering runs and was able to summon beautiful sonorities as she did it.”

“Ott tore into the piano with a kind of controlled abandon.  Her long fingers travelled nimbly over the keys, and even when applying the softest touch at the lowest dynamic level, she achieved wonderful clarity and projection.”

"Performances are fresh, authoritative, lyrical and jaw-dropping.“

"She carved crystal clear structures, but also allowed sentimental passages in places where the composer wants it. In particular Mozart's Adagio brought to light an even more important nuance in Alice Sara Ott’s art: the ability to create great musical bows without losing the suspense.”

"Ott shaped the variations like random statements of truth seemingly led by a magic hand and which connected with the orchestra."

"The piano playing of 21 years old German-Japanese Alice Sara Ott was an occasion of delight. Even the enormous physical energy that Liszt's devil work "Totentanz" requires did not affect Alice and she did not lose her composure. Her playing sounds powerful and substantial, every details is worked out, where necessary forceful and where possible dreamlike and beautiful. She is a gorgeous virtuoso who above all serves the music."

„Alice Sara Ott keeps what the advertising promises – this is rarely enough.“

„The Orchestra’s new years concert was all Beethoven programme: Egmont Overture, Piano Concerto No. 5 ‘Emperor’ and Symphony No. 7. Piano Concerto’s soloist was Alice-Sara Ott. Her ‘Emperor’ was fresh, cheerful. She performed the piece with well-balanced tempos and a solid musical structure.“

“...her performance is proving that the potential of classical music is still unlimited. 21st Century might not be so pessimistic after all.”

“Her performance of the Transcendental Etudes literally tore the audience from their seats. 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.”

“The young lady demonstrates complete mastery of technique and triumphs with perfect ease over each and every complexity, no matter how gruelling.”

“What the young virtuoso succeeded in achieving here can only be described as phenomenal! Her technique and precision is little short of a miracle. 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… exquisite and magical!”

“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.”

“Ott lends a personal, almost overwhelming poetic charm to this splendid music, transporting her listeners into ecstatic delight.”