«... here the Japanese pianist performing Schumann’s solo part with vibrant tension, infusing the piece with brilliant luminosity...»
Neue Luzerner Zeitung

«The artist’s ability to lend unmistakable character to a piece was particularly impressive in the four Impromptus op. 90 D 899 by Franz Schubert. Time and time again Hiroko Sakagami found sufficient space to evolve, pausing momentarily and intimately for moments of accentuated tension, but also to descend gradually from the highlights of the piece.»
Neue Zürcher Zeitung

«All the greater, therefore, do we rate the performance by the splendid pianist Hiroko Sakagami. Hers was a spirited rendition (of Schumann’s piano concerto in A minor op. 54) imbued with a willingness to take risks, the third movement all fire and tempestuous storms, yet thoroughly proportioned musically. Much like Lipatti before her, she clearly demonstrated that the finale before us is not a waltz, but a wild ride and rush.»
Süddeutsche Zeitung

«At the hands of Japanese pianist Hiroko Sakagami it was a memorable rendition of this masterpiece: sparklingly crystal-clear in its filigree passages; gripping yet never ruthless in its chordal sections; and always highly differentiated in both dynamics and agogic accents. Equally exemplary in the pianist’s performance was Mozart’s own cadences, where the emphasis was never on hollow virtuosity alone. A bravura performance by the modest Hiroko Sakagami, and in this respect, too, one is acutely reminded of her legendary role model Clara Haskil.»
Mittelland Zeitung

«Her lean, colourful and witty playing has very much its own distinctive profile; fizzing with energy, its subtle sensitivity is a delight.»
Fono Forum

«Much of that is down to the intelligence and musical finesse of Hiroko Sakagami. One appreciates the proportions of the quintet, which appears better balanced than a string trio. Hiroko Sakagami does not play merely to showcase her talents as a soloist. Clearly she possesses an abundance of energy and performs each of her melodies with movingly dense expression; yet she understands the art of accompaniment and modulates with the violins in a close and sumptuous harmony.»
La Liberté