But, actually, the greatest sense of dramatic contrast and the most consistently resourceful shaping of lyrical line was not to be found in singing. The delight of the evening was the always responsive, imaginative and finely polished piano-playing of Valešová.
Irish Times, 7 March 2008
The richest experiences in the documentary came from the brief, but illuminating analysis of some of the works, particularly those of Lada Valešová. This was a daring exercise by Phil Grabsky, as any in depth discussion of a single melody or phrase is in danger of becoming too abstract, finely detailed and loosing the audience’s attention.
The Oxonian Review of Books, Spring 2006
Wanderer Fantasia – a targeting work, which even Schubert himself could not play. Lada performed it with gargantuan sonic splurges with a towering integrity and I sensed an ever-deepening response to Schubert’s shattering sadness, which in Lada’s hands, never sounded self-indulgent or congested. Her playing, exuberant and spell bound by sheer panache captured the energy and lyricism of the work, culminating in furious finale. This was a marvel of sonic and technical brilliance.
Vanda Prochazka, critic for the Czech music magazine Harmonie.
Miss Valesova was fully equal to the demands of performing works in such differing styles and the second half of the programme in which she performed Schubert’s complex Wanderer Fantasia was breathtaking.
Lada Valesova, one of the most gifted of all accompanists currently before the public.