Q+A Harpcolumn Magazine
"[...] when we heard that Elisabeth Plank is about to release an album using a harp built in the 19th century, we wanted to hear more about the experience. Below, she shares with Harp Column how she adapted to playing a period instrument and the interesting thematic elements woven into her historic harp album."
READ MORE | (Harpcolumn, Stephanie Gustafson, 10.5.2019)

"Not only with dynamics, but also and foremost the art of shading and illumination, with accordingly matt or brilliant sounds, as well as an impressive range of colours enabled her to use unbelievable possibilities of diversification."
READ MORE | (Pizzicato, Remy Franck, 10.2.2019)

"silvery sounds made the audience hold their breath, delicate Pianissimo [...] captivating was the subtle playing with melodies and finely-spun background"
READ MORE | (Vorarlberger Nachrichten, CHV, 11.2.2019)

"Plank has a real command of light and shade. She's adept at creating musical perspective; a soft-edged, almost muted accompaniment against which foreground figures glint and sing in shades that can range from the brilliant to the sombre, often within the same phrase. [...] This is a thoughtful and beautifully played disc"
READ MORE | (Gramophone, Richard Bratby, Juli 2017)

"a consummate musician capable of producing any shade of color in polished splendor, all with a gift few of us have: to make it sound easy. [...] A command of the instrument and its many moods is what sets Elisabeth apart from the very first note [...] Elisabeth is not playing the music, but embodying it [...] (Hindemith) The line of phrase sings, even in the second "Lebhaft" movement that could all too easily be an exercise in technique. [...] This idea of bel-canto-playing-throughout-no-matter-what-is-required-technically is especially apparent in the pedal harp showcase by Wilhelm Posse, "Variations on the Carnival of Venice". [...] in Elisabeth's hands, it takes on a new magnitude of possibility. She detaches each voice, allowing them their individuality and creating the startling effect of two players. [...] perfect dramatic timing."
READ MORE | (Harp Column, Alison Young, 31.10.2017)

"[...] Infatti, nel suo recital ad Arpissima Vicenza, l'arpista internazionale Elisabeth Plank si è rivelata un tutt'uno con la nostra nuova arpa, esibendosi in una splendida performance, intensa e ricca di variazioni stilistiche. (In fact, in her recital in Arpissima Vicenza, the international harpist Elisabeth Plank was one with our new harp, making a great performance, exciting and full of stylistic variations.)"
READ MORE | (Salvi Harps, Arpissima Vicenza, April 2018)

"Plank created a canvas of many timbres ranging from almost orchestral-sounding tutti to faraway dreamy utterances, her playing bristling with virtuosic competence and clean melodic lines, expressiveness and fantasy. [...] Plank creates it in a rich multi-layered soundscape of majestic, modal utterances. [...] Plank's playing of this bitter-sweet movement leaves the listener deep in his own thoughts. [...] Plank's playing of it shows that virtuosity and terse content do not rule out expressiveness."
READ MORE | (Pamela Hickman, 5.12.2017)

"De jonge Weense harpiste Elisabeth Plank bewijst met haar debuutalbum l'Arpa notturna niet enkel de mogelijkheden van de harp als instrument, maar ook haar eigen muzikale neus bij het uitzoeken van geschikte composities. [...] Muzikaal werd iedere compositie afzonderlijk duidelijk bestudeerd."
READ MORE | (Klassiek Centraal, Veerle Deknopper, 31.8.2017)

"[...] die junge, preisgekrönte Harfenistin Elisabeth Plank, eine der großen Nachwuchshoffnungen Österreichs"
(Niederösterreichische Nachrichten, 5.7.2017)

"Virtuosität bewies auch die eigentliche Solistin des Abends, Elisabeth Plank, mit dem Harfenkonzert B-Dur von Händel. [...] bei Debussys "Danses", die ganze Bandbreite an Ausdrucksmöglichkeiten entfalten zu können. Auf Elisabeth Planks zarte Glissandi und atmosphärisch entrückten wie schwärmerischen Klänge antwortete das Orchester mit Zurückhaltung."
(Ostthüringer Zeitung, Friederike Lüdde, 5.7.2017)

"[...] Plank's playing demonstrates her considerable versatility in tone and touch, drawing an impressive sound from her instrument [...]"
READ MORE | (HRAudio, Adrian Quanjer, 13.4.2017)

"Auf höchstem Profi-Niveau zeigten sich die norwegische Flötistin Ingrid Søfteland und die österreichische Harfenistin Elisabeth Plank in Mozarts zuweilen ätherischem Doppelkonzert C-Dur KV299. Da blieb kein Wunsch offen an Präzision des Zusammenspiels und himmlischer Wohlklänge - vor allem im Andantino. [...] Ovationen der Zuhörer."
(Passauer Neue Presse, 21.11.2016)