"Ewa Poblocka showed uncommon fidelity to the music throughout the whole programme I would not hesitate to rank her among the greatest pianists of her own country and others too".

"She may easily become the descendant of Rubinstein and the tradition of the Polish national saint, Chopin her silver sound reminds us of Wilhelm Kempff."

"Her evening recital proved that she is one of the greatest talents of her generation. In addition to her dazzling technique she possesses a mighty creative power Her interpretation has a fascinating profundity. One could fall in love with her rendition of Brahms."

"It is a very rare occasion indeed when we are treated to such a superb rendition of Bach work by a Polish pianist. The text rendered so clearly and expressively; the polyphonic sounds running so flawlessly, the tempos and the emotions so moderate."

"Ewa Poblocka's interpretation of Chopin's Second Piano Concerto was profoundly beautiful."

"...Her fingers obeying every command, articulated each detail with great precision, evoking most beautiful colours from the piano..."

"...This was perfect Mozart playing, notable for a range of dynamics springing from the utmost delicacy of touch..."

"She is a fine pianist with a light touch and sound technique..."

"Chopin's First Piano Concerto was beautifully played by the young Polish pianist Ewa Poblocka. She has great technical facility and is a first-class Chopin player."

"Her pianism is a miraculous combination of juvenile naivety and severe sombreness."

"... Before the interval, the excellent Ewa Poblocka was soloist in Ravel's Piano Concerto, and if this wonderful yet exclusive piece made an uneven impression, it resulted from the combined effects of bland woodwind playing and insensitive coughing among the audience..."

..."Ravel's Piano Concerto in G, with Ewa Poblocka as a magnificently lucid soloist, had an entirely idiomatic feel, with every joke relished..."

"...She's magnificent, a great interpretation of my piece... She's given it a life of its own. I'm very pleased that we'll be playing it abroad together."

" In the Piano Concerto in G major Ewa Poblocka has shown herself to be a sensitive pianist with a good feel for style and - what is not insignificant in this particular work - a dazzling technique. Her account of Ravel was resplendent with nuances of articulation and colour, while the clarity of her expression gave the work a shape guaranteeing the audience complete aesthetic satisfaction."

[...] "On May 30 Wojciech Rajski capped off the Gdansk celebrations with a gala performance in the Baltic Opera and Philharmonic. The soloist was Gdansk-born Ewa Poblocka, a veteran of concert halls around the world. Her rendition of Mozart's Piano Concerto in C major K467, testified to musicality, culture and a rare purity of musical narration. The tone and atmosphere of the second movement made an enduring impression."

"...The solo part in the A major Concerto [K488] was played by Ewa Poblocka, a pianist I find best suited to performing Mozart, as I feel that she intuits Mozart's sound and expression with a rare sensivity; the famous Siciliana was enchantingly beautiful in her account." [...]

"If I have left my relation of Ewa Poblocka's performance for the end, it is because it was the crowning glory of the evening. Dvorak's four-movement Quintet allowed the pianist to demonstrate her magnificent skills as an instrumentalist and her incredible musicality. On the one hand Poblocka never lets us forget that she is a soloist of the highest order, on the other she remains an empathic team player assuming her share of the responsibility, simply put - a great chamber musician. The expansive sonata allegro beginning and ending the piece was performed with great precision, in tempos far from safe. Half song, half dance the Dumka and the Scherzo-furiant with their limpid melodies gave the listener ample opportunity to delight in the diverse colour combinations emerging from the piano and the strings."

"...After a year's absence Ewa Poblocka played the Barbican Center Hall on February 9th, this time with the Polish Chamber Orchestra. Her performance of Mozart's Concerto in A major, K414, had a restrained elegance and a lovely, well-rounded tone"...

"Polish Female pianist Poblocka - awarded 5th prize with Berchot in Chopin Competition in 1980 played Haydn (Sonata in E flat major (Hob. 16/49), Schumann/Arabesque/Sonata No. 2, Chopin/two Nocturnes, and /Sonata No.3. She is a pianist that has both the female delicacy and the male powerful pianism. At first Haydn, had full of spontaneousness. Tone had sense as carefully selected, at the same time as always improvised, therefore it is so musical. Arabesque of Schumann was played with delicate colour of tone and of expression. It's just "Schumann". A moment later she continued to play Sonata, it also wonderful. One by one flowed musical sense. It was very flesh, especially second movement was like the best "Lied Sänger". Chopin's Nocturne was also singing world of "cantilena". About Sonata, first movement was felt a little being disturbed, but except it nothing to complain. Particularly I was overwhelmed by combustion of energy that no longer female.

Polish pianist Ewa Poblocka graduated Music Academy in Gdansk and in Hamburg. She has been awarded 1st prize of Viotti International Competition Program of this night were Haydn/Sonata in E-flat major (Hob. 16/49), Schumann/Arabesque in C major Op.18, /Sonata No.2 in G minor Op.22, Chopin/Nocturnes in F minor Op.55-1 and in E flat major Op.55-2 (They were not the same as programme writing), and /Sonata No.3 in B flat minor Op.58. Each performance had deep inside, I was satisfied. At first about Haydn, appreciated her brightness with full of animation and open-hearted way. Poblocka in Arabesque carried smoothly this a little rambling music by means of good controlled tempo. In Sonata she gave lucid expression t this piece through grasping acceleration and construction of this music. About Chopin in two nocturnes I could listen very lyrical romantic song. Her beautiful tone which was also drawn attention in Schumann was more conspicuous and showed colourful change. Last sonata was sometimes felt blurry articulation, but as whole impression, lucid expression was distinguished. Besides undulation of that expression was always natural, she didn't lost sight of whole construction. That solid construction supported her expression.

"There was excitement too at the Wigmore Hall when young Polish pianist Ewa Poblocka gave her London debut recital. Leaving Chopin for two encores, Poblocka offered a tough but thrilling programme of Bach, Berg and Panufnik, whose Pentasonata she showed to be a highly rewarding work. Her piano playing has strength as well as beauty and I hope that she will return to London from Warsaw soon, and often."

The recital by the Polish pianist Ewa Poblocka, given at the Wigmore Hall on 26 May, revealed an artist of perception and technical mastery. What a treat it was to hear so many varieties of soft tone and to find a pianist who could integrate dynamic control with her interpretation as a whole. This gift was at once evident in a noble account of Bach's Chromatic Fantasia and Fugue and the Partita in E minor. Both works flowed with seeming effortlessness towards their culmination, the several movements of the Partita being rightly presented as essential constituents of an organic whole. To programme Berg's Sonata just after the Bach showed true perception, for no composer meant more to Berg than the Cantor of Leipzig. This fathomless Sonata was played with sustained clarity and emotional conviction. Panufnik's Penta Sonata, a longish work in five linked sections, proved highly stimulating, and was played with authority. Panufnik's basic idiom is not abstruse, but the quality of his thinking makes for music of interesting individuality. Schumann's Arabesque and Sonata in G minor brought a fine recital to a close - the first-named being played with keen sensibility and the Sonata offering a cogent alternation of poetry and passion.