(...) warm, sensuous and captivating sound (...) soft, luminous colours (...) delectable sound shaping and elegance.

Diapason, (France), May 2011 read more

A meeting of masters (...) a glittering musical achievement.

Tønsberg blad, (Norway), June 2012 read more

(...) a magnificent concert (...) deep-felt and passionate interpretations(...)

Algarve Aktuel, (Portugal), March 2012 read more

(...) a true lecture in style.

Education Musicale, (France), May 2011 read more

(...) recreates with preciseness the spirit and colouring of Debussy (...)

Concertonet, (France), May 2011 read more

(...) impressive technique (...) excepcional musical sparkle (...) elegant, imaginative and magistral piano playing.

Tønsberg blad, (Norway), August 2011 read more

(...) a fluid playing, an irreproachable technique (...)

France Net Infos, (France), October 2012 read more

(...) magnificent intelligence and great freshness (...)

Classiqueinfo-disque.com, (France), March 2009

(...) Anne Kaasa offered the audience a richly colourful interpretation of Ravel’s Concerto in G. Benefitting from the company of a judiciously accompanying orchestra, we fully appreciated the wonderful virtuosity of the soloist, as well as the refinement of her beautiful contrasting style for this extremely imaginative composition.

La Provence, (France), July 2001 read more

(...) both lyrical and a dramatic sense, as well as an impressive technical control.

Tønsberg Blad, (Norway), September 2000 read more

(...) the Concerto for piano and orchestra by Philippe Fénelon (...) brilliantly played by Anne Kaasa who, once more, demonstrated why she is considered to be one the best pianists of actuality.

Diário Económico, (Portugal), July 2000 read more

(…) Anne Kaasa perfectly enhanced all the beauty of this score (Grieg’s Concerto for Piano and Orchestra), thanks to her flawless technique and a great musicality. Truly moments of bliss!

La Marseillaise, (France), May 2000 read more

She does not invest in shallow and consensual approaches (…) Gaspard de la Nuit and Miroirs unfold to our ears with liberties that will shock us, as those of Samson François, which cause the purists’ rage (...) This artist’s path deserves to be closely accompanied!

Diapason, (Paris), April 2000 read more

Anne Kaasa reveals a huge mellowness and a fluent toucher, well adapted to the Ravelian style. In Gaspard de la Nuit (…) she plays over a colourful record of flowing and nuance filled measures (…) With the easiness she shows in evolving through the ambiguities and the complexity of the Ravelian universe, Anne Kaasa proves to have become part of the restricted circle of interpreters of the French composer’s works.

Le Monde de la Musique, (France), March 2000 read more

Anne Kaasa’s phrasal liberty and rhythmical tension are convincing, as remarkably is her absolute control over the sonority.

La Stampa, (Roma), March 2000 read more

(…) the expressive concentration of Le Gibet and the total musical transposition of the disfigured perversity of Scarbo were accordingly wonderful (…) combining the utmost lyricism and fanciful sound with a virtuoso climax.

Dìárìo de Notícias, (Portugal), January 1999 read more

I have seldom heard such a monumental performance Grieg’s Ballad.

Aftenposten, (Norway), July 1998 read more

(...) Intellectual control and emotional strength.

Bergens Tidende, (Norway), August 1997 read more

(...) the cellist Truls Mørk and the pianist Anne Kaasa presented one of the most interesting moments (of the Festival Internacional de Música da Costa do Estoril) with their interpretation of works by Brahms, Schubert and Grieg.

Expresso, (Portugal), August 1997 read more

Both a touch of unusual vigour as of exceptional delicateness.

L’Education Musicale, (France), May 1997 read more

The fluidity of her playing and the profoundness of her interpretation (Ballad), the precision (From Holberg’s Time) and the delicacy of her touch distinguish a pianist that stands out in the crowded world of today’s soloists (…) Her Lyric Pieces do not stand back to those performed by the best interpreters (Gilels, Setrak, Oppits, Andsnes, Rubinstein…)

Le Monde de la Musique, (France), March 1997 read more

(…) an excellent interpretation (…) we can but admire the quality of the toucher.

Répertoire, (France), February 1997 read more

A brilliant pianist, a passionate performer with a profound perspective of the works she plays.

Drammens Tidende, (Norway), May 1996 read more

Mysticism, poetry and strength; the art of piano playing at the highest level.

Tønsberg Blad, (Norway), February 1995 read more