Neue Musik Zeitung
Musik, Texte und Kunst, Dr. Adelheid Krause-Pichler
"Heather O'Donnell ranks among the most talented young pianists on the new-music scene today. . . This concert was in many respects an experience, through the high-quality of a spiritually-inclined pianist who realized the intentions of the composers to a degree seldomly heard. . . The program concluded with Maurice Ravel's "Gaspard de la nuit", and with these three pieces the pianist once again displayed her immense abilities."
Philharmonic Magazine, Moscow
The Alternativa Festival, Elena Dubinets
"A young American pianist, Heather O'Donnell, amazed with intense and precise playing... She won the audience over with fine intelligence and interpretative depth."
The New York Times
A Week of New Sounds, Allan Kozinn
". . . she communicated freshness, excitement and a sense of occasion."
Seen and Heard Magazine, London
View from Rotterdamm, Peter Graham Woolf
"She played with easy mastery and very evident enjoyment a wide range of music. . .Her two recitals concluded with as fine an account of Ives's "Hawthorne" as you are likely to be lucky enough to encounter."
Boston Herald
Ligeti in Boston, Josiah Fisk
"All three performances were exceptional. . .Is there nothing Heather O'Donnell can't play?"
The Boston Globe
The Old Guard and Young Turks, Richard Dyer
"Heather O'Donnell gave a knockout performance that left the audience screaming! "
Schwarzwälder Bote
Ein spannender Abend der neuen Musik
"The very remarkable pianist Heather O'Donnell opened the evening with Helmut Lachenmann's Fünf Variationen über ein Thema von Franz Schubert: She carried off Lachenmann's translation of the Schubertian melodic language with a powerful touch and explosive temperament. In the variations she shined with intensive coloring, finesse, and a certain instinct for harmonic breadth."
The Concord Journal
Ives Returns to Concord, Phyllis Hughes
"O'Donnell's intuitive playing reached great depths. Her strength and mastery of these infamously difficult passages were indeed impressive."
reviews from maerzmusik festival: 21 march, 2004
The Village Voice, New York
Call it Spectral, Kyle Gann
"American expatriate pianist Heather O'Donnell gave as fiery a performance of Ives's Concord Sonata as I've ever heard, following an exhausting recital of works in homage to Ives."
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Neues Deutschland, Berlin
Unerhört, grenzenlos, Liesel Markowski
"An unforgettable piano recital was given by the young American (living in Berlin) Heather O'Donnell. She is a thoroughly excellent pianist that enchants with a strong charisma, differentiated touch cultivation, and rapturous musicality. She performed with a breathtaking virtuosity, all-out energy, and playful wit."
Paris Transatlantic Magazine, Paris
MaerzMusik 2004, Phillippe Simon
"American pianist Heather O'Donnell gave an intense and elegant reading of the "Concord Sonata" - quite a feat after the long recital of new works she'd given that same morning."
Die Zeit, Hamburg
Yankee Doodle und Visionen, Volker Hagadorn
"It's impossible to imagine a better place to concentrate on the legendary Concord Sonata as here, where Heather O'Donnell revealed with keyboard thunderstorms the touching marriage of Beethoven with North American folklore. "
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Neue Zeitschrift für Musik, Mainz
Auf Transzendentalistischem Pfad, Jürgen Otten
" . . .Heather O'Donnell presented an interpretation of the philosophic-aesthetic and multifarious 'Concord' Sonata, one that was carried by an enormous strength of imagination, emphasizing the lyrical side far more than the tonal ruggedness and rhythmic gruffness. An unusual approach chosen by the pianist, surely. But compellingly held-together. Thus, one of the highpoints of MaerzMusik."
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Neue Musikzeitung
Viel Lärm um wenig, Isabel Herzfeld
"Heather O'Donnell performed with inimitable fineness and transparency."
Die Tageszeitung, Berlin
Im Räderwerk der Töne, Björn Gottstein
"There came a whole row of veritable classiques, that ranked as the best pieces of the festival : the monstrous Concord Sonata (1907/15) by Charles Ives was executed by Heather O'Donnell with a mischievous and brilliant severity."
Frankfurter Allgemeine
Sieben Töne hat der Mensch, Eleonore Büning
". . .the others disappeared like ants behind the central massivity of the Concord Sonata, congenially interpreted by Heather O'Donnell"
reviews from eclat festival: 27 january, 2005
Stuttgarter Zeitung
Gaumenraspeln, Stammeln und hysterisches Gezeter, Werner Müller-Grimmel
"The climax of the concert was O'Donnell's fulminant interpretation of Bernhard Lang's piano study "DW 12 cellular Automata"; a contrasting sequence of pianistically demanding movements, at times vigorous like Oscar Peterson, repetitive like Steve Reich, fleetingly discoursive, melancholically lost in thought or full of silvery grace like Debussy, but maintaining throughout all these quotations its own tonal language."
Esslinger Zeitung
Weg vom Supermarkt der Klänge, Dietholf Zerweck
"With Heather O'Donnell, the world premiere of [Bernhard] Lang's cycle had a ideally-matched interpreter: explosive in the surely minimal, but monstrously inelastic motivic loops, electrically jazzy over a improvisatory Boogie-ostinato, and very differentiated in the representation of particular sound characteristics."
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Stuttgarter Nachrichten
Vorsicht, knurrende Sänger, Susanne Benda
"In that Lang always drives the musical material further into perpetual repetition and makes it more dynamic, his music takes on a snowball effect- always gaining more and more size, width, heaviness, and strength. Lang's demanding piece lay in the best hands with the pianist Heather O'Donnell."
Reutlinger Generalanzeiger
Tastenshow mit Dopple-Pointe, Armin Knauer
"For one moment the iron rules of New Music seemed to be overridden. The basic rules, chiseled in stone, like "Never flatter the ears!" or "Never get swept away by virtuosity!" seemed invalidated as Heather O'Donnell sat down at the piano - this arch-conservative 19th century piece of salon furniture - to premiere Bernhard Lang's piece "DW 12 cellular automata" . With its rotating patterns, it turned out to be a technical bravura piece that brought the interpreter downright enthusiastic "Bravos" at the end. Hurrahs for demonstrative virtuosity at a new music festival? Eclat!
But then the bravura-show of the New York pianist had a double point: On the one hand, the tirelessly circling sounds had the effect of producing a machine-like structure, as if generated by a computer, as the demonstratively musical performance of O'Donnell showed ad absurdum. And on the other hand, her keyboard acrobatics conjured up the remembrance of the golden age of great virtuosos, in that the totality is not permitted to flow towards an emotional exuberance, instead kept in check by a cool rotation, calculated motions. A clever and subtle conflict with the musical tradition and as such absolutely at the height of timeliness. "
reviews from musik der zeit (wdr) festival: 8 december, 2006
Frankfurter Allgemeine Zeitung
So wird Beethoven zerlegt, Gerhard Rohde
"At the Musik der Zeit concerts one marvels at the continuously high level of interpretation… In Arnulf Herrmann's "Privatsammlung" (2006) the American Heather O'Donnell presented herself as a sovereign pianist, likewise for Bernhard Lang's "DW12 - Cellular Automata" from 2003 in which the romantic emotional cosmos is disassembled into various modular componants, the intoxication of yesterday must bend to the rationale of today. Nevertheless, the resultant music also aquires emotional qualities. But this is largely dependant on the virtuoso interpretation."
Kölner Stadt-Anzeiger
Keine Spur von Damenkränzchen, Rainer Nonnenmann
"Shortly before midnight, the english [sic] pianist Heather O'Donnell offered a fantastic "Late Night Show" of joyous playing, a powerful lightness and a sense of irony. After works by Charles Ives and Arnulf Herrmann she played Bernhard Lang's half-hour "Horror Trip through Piano Literature" "DW12 - Cellular Automata" (2003). An opportunity to draw out of the piano what had been packed in throughout the last 200 years- Beethoven, Chopin, Boulez und Cecil Taylor: virtuostic demonics and analytic distance with British wit crossed into a playful affirmation (or disaffirmation) of tradition."
reviews from witten festival (ensemble 2x2): 20/22 april, 2007
Frankfurter Allgemeine Zeitung
Hanna Schygulla spricht aus dem Klavier, Großes "Stimmen-Gewirr": die Wittener tage für neue Kammermusik befassen sich mit Sprache, Gerhard Rohde
"The interpreters of the "ensemble 2x2" generated a new tone color. Two pianists (Heather O'Donnell, Benjamin Kobler) and two percussionists (László Hudacsek, Rie Watanabe) joined forces to found the ensemble earlier this year. In Witten they had the effect of such masterful playing that it seemed as if they had already played for a decade together."
Neue Zürcher Zeitung
Vielstimmig und körperhaft, Alfred Zimmerlin
"The performances and sound-installations at Witten were overall particularly exhilirating this year… "Ensemble 2x2" (two pianos /two percussion) made a great impression with "Resonant Space" (2007) of Oliver Schneller, where one can experiece how skillful scoring can change the actual sound of the various instruments, or with the enormous dexterity in the handeling of time of Jérôme Combier's colorful "Sables de vieux os" (2007)."
Musiktexte
Found in Translation. Wittener Tage für neue Kammermusik, Rainer Nonnenmann
"…with this piece "Ensemble 2x2" made their debut- the consolidation of pianists Heather O'Donnell and Benjamin Kobler with the just as excellent percussionists László Hudascek and Rie Watanabe. In the future, composers can count themselves as fortunate to be able to write for this young ensemble."