REVIEWS

“Plank offers as if a gift to the listener with panache and style. What I love so much about Plank’s playing is that even though she must have played this piece a thousand times—and we’ve heard it played at least as many—she brings a freshness to this one and only original work for harp by Mozart, uncovering the complexity underneath its simplicity.” (Harp Column, Alison Young, 01.11.2024)

“Plank beeindruckte an dem Abend mit ihrer virtuosen Technik und ihrem einfühlsamen Spiel. Nach dem Konzert wollte der Applaus kein Ende nehmen.” (NÖN, Tata Asatiani-Aigner, 22.10.2024)

“in den Danse sacrée et Danse profane [zeigte] die junge Harfenistin Elisabeth Plank ihr außergewöhnliches Können. Mit brillanter Technik, virtuoser Brillanz und feinen Klangfacetten spielte sie den Solopart und verzauberte mit ihrer hingebungsvollen Interpretation das Publikum.” (MeinBezirk, Alfred Mayer, 26.06.2024)

“Mozart in fine interpretations! […] Concerto for Flute, Harp and Orchestra, in which the well-coordinated soloists display a great deal of imagination and knowledge to make their delightful parts delightful as well.” (Pizzicato, Remy Franck, 09.11.2023)

“Elisabeth Plank, a young and outstanding harp player” (Muusika, Jorma Toots, 21.09.2023)

"Already the first notes had an electrifying effect in the space and Plank was able to really bring her music closer to the listeners. [...]
it was one of the greatest musical experiences of the season so far." (KlasikaPlus.cz, Kristýna Šrámková, 10.07.2023)

“La vocación de un arpegio” Interview for El Malpensante (April 2023)

“Dedos prodigiosos de la austriaca Elisabeth Plank se desplazaron como arañas por las cuerdas y elevaron las notas a un nivel exquisito.” (Once Noticias, Mauricio Romo, November 2022)

“la artista austriaca Elisabeth Plank con un magistral concierto de arpa en el Templo de las Rosas.” (Fernanda, Tapia, Eder Zarate, 14.11.2022)

“three-dimensional under her hands, as if asking the question, “What if?” […] Plank {…] embodies the soul of this swooning idyll, never overplaying and holding back just so, to make the passion last. […] Plank deftly managing the quick changes in mood, technical demands, and thoughtful phrasing. [...] along with Elisabeth Plank’s astuteness and stunningly vivid performance—this glorious piece has finally been given the recording it deserves. [...] Plank sets the tone of a flirtation that is less sensual and more playfully and sometimes bitingly teasing with brooding undertones [...] Plank’s performance of Nachtstück, [...] reads like a gentle yet captivating caress.” (Harp Column, Alison Young, 01.09.2022)

”impressive command of her instrument: Plank is exposing abysses in an alleged eternal harp-bliss. Daring, but magnificent” (Aargauer Zeitung, Christian Berzins, 28.05.2022)

“The amazing harpist Elisabeth Plank […] a very exciting insight in the world of the harp” (Brigitte Woman, 06/22)

”All this is beautifully presented by Elisabeth Plank in beautifully balanced, beautifully colored and flawlessly phrased renditions” (Musicalifeiten, 05/22)Musicalifeite

"The young harpist Elisabeth Plank enthralled the audience with a solo recital [...] with her chosen program [...] Elisabeth Plank presented her virtuosity, with different soundscapes, ranging from melancholy to exuberance." (Kleine Zeitung, Johann Zugschwert, 24.04.2022)

"compelling shaping of arcs of suspense and storylines [...] orchestral power [...] an incredible spectrum of sounds and proportions, as well as a richness of exquisite musical themes and melodies [...] absolute recommendation" (Orchestergraben, Stefan Pillhofer, 29.03.2022)

"Offenbarte die Solistin [...] die dunklen Seiten der Harfe. Dass man hier in anderen Sphären weilt, die Distanzen zum irdischen Gefühlshaushalt aufbauen, macht auch Elisabeth Plank deutlich. Von den Spohr Variationen op. 36 bis Debussys "Deux Danses" schlummert Noblesse, wie auch ein gewisser abgründiger Hintersinn in ihrem Spiel." (Kronen Zeitung, Felix Jureček, 29.10.2021)

"Zum Auftakt verzauberte Plank mit Louis Spohrs Harfensolo “Je suis encore dans mon printemps”, in welchem sie von volksliedhafter schlichter Innigkeit zu den filigranen, komplexen Variationen wechselte. […] Debussys “Deux Danses” changierten virtuos, von feierlich getragen bis tänzerisch-beschwingt” (Kleine Zeitung, Eva Schulz, 29.10.2021)

"Konzerterlebnis der Extraklasse. [...] die hochkarätigen jungen Interpretinnen [...] Besonders berührten das Publikum Elisabeth Planks Bearbeitung des Adagietto von Gustav Mahler, dessen wortlose Liebeserklärung an Alma, sowie Parish Alvars bewegende "Scenes of my Youth"." (Passauer Neue Presse, Marita Pletter, 23.10.2021)

"Ces Echos de Vienne sur une harpe historique brassent donc large, de Pleyel à Rossini, avec, entre autres, une étude d'Elias Parish Alvars qui imite la mandoline. L'illusion est parfaite, comme pour l'année qui couronne l'album." (Le Monde, Pierre Gervasoni, 18.10.2019)

"She demonstrates a rare talent in shaping the musical landscape, and showcases her wonderful instrument's sound in all its multifaceted beauty [...] a strikingly beautiful and varied program [...] Belcanto on the harp" (Klassik Heute, Detmar Huchting, 13.09.2019)

"Magical [...] Ms. Plank plays to such beguiling effect in her new release. [...] plays with a quicksilver incisiveness, delights in the salon qualities of the instrument, which, rather than dim her virtuosity, seem to emphasize the hard work required to make the performance sound absolutely effortless. [...] filled with such glorious attention to detail. Ms. Plank achieves the nearly impossible in tricking the ear into hearing melody as a long line as though sung [...] Serenade by Alvars that creates an atmosphere worthy of the poetry of Chopin. Under Ms. Plank's hands, this little piece takes us to another world with all of our senses ignited." (Harp Column, Alison Young, 31.08.2019)

"[...] 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." (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." (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" (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" (Gramophone, Richard Bratby, July 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." (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." (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." (Pamela Hickman, 5.12.2017)

“Harfen klingen, wenn sich am Ende in der Oper der Himmel öffnen soll. Ansonsten gilt sie als verstaubtes Salonmusik-Möbel mit latentem Kitschrisiko.
Das weitgespannte Debütalbum der österreichischen Harfenistin Elisabeth Plank zeigt mehr. Besonders Hindemiths Sonate erweist sich als Überraschung.” (takt1)

"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." (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 [...]"
(HRAudio, Adrian Quanjer, 13.4.2017)

"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)