"German-Japanese pianist Alice Sara Ott is a performer who appears to care more about the score and the composer than about her image and interpretations. After promoting Lang-Lang, a pianist of maximal technique but debatable taste, DG has given Ott an exclusive recording contract, and her first release, the complete waltzes of Chopin, shows her to be a pianist of taste and restraint…" ~allmusicguide
…Though by no means the greatest performances of the waltzes ever recorded – Dinu Lipatti's EMI recording is now and likely always will be the most beautiful, the most masterful, and the most moving version of these works – Ott's recording is well worth hearing by anyone who loves the music. The sound of DG's digital recording is limpid.
Rising star Alice Sara Ott’s new recording documents her summer 2012 rite of passage debut at the prestigious White Nights Festival. Alice Sara Ott’s challenging programme centers upon Mussorgsky’s Pictures at an Exhibition. Her virtuosic technique and youthful brilliance deliver the majesty, colours and spontaneity that this music requires. The power, passion and beauty which Alice Sara brings to Schubert’s thrilling Sonata No. 17 is insightful and memorable.
I can’t help the feeling that Deutsche Grammophon have been keeping their young new signing Alice Sara Ott from us. For reasons best known to themselves, the label released this, her debut disc, in a number of countries in 2008, but held back in the UK until she had a second recording under her belt - of Chopin waltzes (DG 00289 477 8095). The double-whammy debut approach seems to have backfired a little, with many critics finding the Chopin too dry and emotionless and then projecting those criticisms, albeit in a milder form, onto the Liszt.
Following her critically hailed Deutsche Grammophon debut, Echoes of Time – and growing acclaim for her concert appearances – violin virtuosa Lisa Batiashvili meets every challenge of Brahms’s monumental Violin Concerto. With maestro Christian Thielemann and the instrumentalists of the Staatskapelle Dresden, for whom German Romanticism is the birthright, Lisa Batiashvili’s elegant, eloquent artistry finds ideal partners. Meeting Thielemann exceeded all her expectations: “. . .his conducting was wild and fiery. At the same time I always had the feeling that I was being supported by the orchestra and that I had time to react.” Rounding out the programme are Clara Schumann chamber pieces which Batiashvili plays together with young pianist Alice Sara Ott. For the first time in their careers they teamed up to play the three romances.