“the audience welcomed one of the busiest concert pianists around, Tamara-Anna Cislowska. What a treat to be able to hear such a fantastic, sensitive and agile pianist navigate Prokofiev’s intense and lengthy cadenzas... 
Cislowska’s playing was impeccable. She was in turns immensely powerful and charmingly vulnerable, 
channelling the young Prokofiev as the pianist battles with pressures and forces internal and external… thunderous applause
– The Age (live review, 2018)
(Prokofiev piano concerto no.2, Canberra Symphony Orchestra)

“a thrill to hear [Cislowska] performing the technically demanding Prokofiev “Piano Concerto No 2 in G minor’… 
wonderful control and contrast in her playing style – one moment delicate and sublime then suddenly heavy, solid and demanding and in powerful control of her keyboard.”
– Canberra CityNews, 2018
(Prokofiev piano concerto no.2, Canberra Symphony Orchestra)

“strong and expansive. She played with a fleet-fingered fluency that allowed the the contrasting poetic sections to make their own impact without losing dignity”

– The Press News (2015)
(Rachmaninov Rhapsody on a Theme of Paganini, Christchurch Symphony Orchestra)

"Australian piano gold... transfixing"

- BBC Music Magazine (2015) (Sculthorpe: Complete Works for Solo Piano)

"Cislowska's great gift is to pick up on the saudade inherent in this distinctive, finely-crafted, lyrical music, and project it outwards in an utterly natural, unforced manner. A profoundly affecting release"

- Gramophone (2015) (Sculthorpe: Complete Works for Solo Piano)

"With solid technique, innate sensitivity and interpretative powers, Cislowska commands the music’s changing moods in the 58-track collection... Cislowska’s intelligent, unerring musicianship and strong hand... make this project an Australian treasure."

- (2014) (Sculthorpe: Complete Works for Solo Piano)

“unruffled and almost defiant virtuosity”

- New Zealand Herald (2013) (Liszt Totentanz, Auckland Philharmonia Orchestra)

"A highly refined pianist, Cislowska drew kaleidoscopic tones from the instrument, reminding [one] of a young Rubinstein"

- Canberra CityNews, 2014

“The Piano Concerto, dating from 1983, is one of Sculthorpe’s most magnificent creations. Tamara Anna Cislowska has already recorded it with Edo de Waart, a relaxed performance with ‘impressionistic’ orchestral sound; the Naxos recording is sharper and in both recordings Cislowska sounds completely at home in a mesmerising work.”

– Gramophone (2005) (Sculthorpe: Earth Cry, Naxos)

“Sculthorpe's concerto is powerful and mesmeric. The strength of Cislowska's playing and musical conception made this a forcefully compelling performance. It was playing of great conviction and every note had place and meaning, giving the music a lucid coherence.”

– The Australian (Tasmanian Symphony Orchestra/cond. Nicholas Braithwaite)

"Hypnotic, almost meditational from the off, not to mention hyper-gentle, every note drips with resonance… from the excellent young pianist, Tamara Anna Cislowska. The cadenza … is gripping... Magnificent.”

– Musicweb-international (2005) (Sculthorpe: Earth Cry, Naxos)

“the brilliant, sensitive and wide-ranging pianist, Tamara Anna Cislowska... Cislowska’s Rachmaninov C sharp minor Prelude has a majestic tread and the dark whirlpool that is the Prelude in B flat major has all the romantic panache you could ask... This is an original and unhackneyed collection which is likely to yield far more discoveries than old friends. It is recorded by the brilliant and sensitive Tamara Anna Cislowska. Not to be overlooked.”

 – Musicweb-international (Tamara-Anna Cislowska Collection, ABC Classics)

"real mastery... extraordinary stamina and skill"

- Canberra CityNews, 2013

"crystalline drops of sound"

- Sydney Morning Herald, 2013

“Powerful octaves, cracking tempi and fearless assaults on some of the most technically demanding passages in the romantic repertoire earned her a prolonged and enthusiastic ovation and the demand for two encores”

- Adelaide Advertiser

"superlative... Tamara-Anna Cislowska proved a most sensitive partner, especially given the challenges of 
Prokofiev's demanding piano part"

- Limelight Magazine, 2013

“a finely chiselled performance of brilliant brittleness”

– Sydney Morning Herald, 2013 (Prokofiev Flute Sonata in D major, op.94)

"A perfect combination of artistry and virtuosity"

- The Strad

"Skilful and poetic - a true artist"

- The Times