Concert Review – Northern lights: two electric symphonies and a prodigy plays Grieg

ASO Concert Reviews

Geoff Brown, The Arts Desk
“She played Grieg’s horse chestnut with a fresh, clean attack and a poetic ease that lifted her above the pretty piano dolls who can’t reach beyond technical brilliance. Ott has plenty of that, of course; but she wields her expertise with imagination and a freedom of spirit, something also apparent in her regular decision to play barefoot.”
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Concert Review – Alice Sara Ott at BBC Proms

ASO Concert Reviews

Nick Kimberley, London Evening Standard
“Grieg’s Piano Concerto starts big and builds from there. For some, its sound and fury signify not much at all but soloist Alice Sara Ott brought thoughtful engagement and a pleasingly warm tone to the piece. ”

Andrew Clements, The Guardian
“While it was good to hear live the qualities that shine through on Ott’s recordings – the crystalline tone and prodigious range of colour, the perfectly even, crisp technique – the Grieg gives the soloist less interpretative latitude than many concertos, and it was a dazzling encore, Liszt’s La Campanella, that displayed Ott’s remarkable talent most convincingly.”
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Concert Review – Alice Sara Ott at the Barbican

ASO Concert Reviews

Tim Ashley, The Guardian
“The soloist, replacing Lang Lang at short notice, was Alice Sara Ott, who gave the kind of gawp-inducing bravura performance of which legends are made.”

Colin Anderson, Classical Source
“She was grand and rhetorical (without forcing), lyrical (without cloying), glittering (without bling), fiery (but not of the flamethrower variety) and loving (without smothering), exploiting an affecting range from dramatically potent to caressing. ”
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