"Ms Ortiz entered with a flourish in the Rachmaninov (Piano Concerto No.1), which, though less often played than his second and third concertos, delivers a hefty melodic and bravura punch. Playing with the piano bench tipped forward, she dug into the keys for maximum clarity and strength, generating fists full of notes with panache."

The Cincinnati Post

“Ortiz's special talent for spirited characterisation and rhythmic zest were best shown in a group of pieces by the Brazilian composer Fructuoso Vianna, who died in 1976, aged 80. She had a field day with their enterprising keyboard textures and tangy harmonies, and in one of the “7 Miniaturas sôbre temas brasileiros“ she even had to yell out street cries to add a bit of local colour, which she did with a real ring of authenticity. "

The Independent, London

“Her fingers teased out the wistfulness in Sad Bird, danced with rocking rhythms in The Boat, and whirled round and round in the Gypsy rondo (Mompou)… Stenhammar’s G-flat major Impromptu, in particular, shimmered with warmth and delicacy…when she left northern Europe for the recital's second half and moved south to music from her native Brazil…her impulsive ebullience and caressing touch could be given full play.”

The Times, London

"Cristina Ortiz's interpretation of the F sharp minor Piano Concerto by Skryabin was masterful, a real battle between soloist and orchestra."

Daily Post, Liverpool

“She is a fiery and impassioned player who communicates a sense of vivid immediacy and tends to change speed upon impulse… It is playing of great individuality, and Ortiz characterised each of Rachmaninov’s Variations on a Theme of Corelli, opus 42, with a stamp of rugged uniqueness and strength.”

The Sydney Morning Herald

“The four Debussy pieces - two lovely early Arabesques, Reflets dans l’eau and the breathtaking L’Isle Joyeuse – showed Ortiz at her consummate best: now delicate, now fiery, now lyrical. One of the great strengths of this pianist – apart from her faultless technique and intelligence – is that she has such a passion in her playing that the listener feels included. There is never a barrier between Ortiz and the audience, such as you can feel with some performers. There is a sense of fun as well as artistry.”

The Manly Daily Newspaper, Sydney

“Ortiz holds little back, least of all in her determination to display the full gamut of her technique… ending in Festa no Sertão [Villa Lobos]: a piece of frenetic activity featuring infectious melodic fragments, driving cross-rhythms and syncopations, digital dexterity of a high order, showed a player who can keep the texture clear from one end of the keyboard to the other.”

" …Five seconds into the performance (Debussy) she had established her unmistakable and inimitable style of performance, built around her high-intensity personality and fulfilled with her powerful technique."

Star Telegram, Fort Worth

"In Rachmaninov’s Variations on a theme of Corelli …. Ms Ortiz played from start to finish with fervour and a keen sense of nostalgia and melancholy."

The Dallas Morning News

" La semplicità, la spontaneità e la communicatività (in Villa-Lobos, Fernandez, Vianna, Guarnieri) sono stati gli elementi primari che la pianista Cristina Ortiz ha messo in luce a Chiasso … la bravissima solista ha profuso tutte le sue doti di tecnica agguerrita di gusto e di intelligente sensibilità."

La Provincia, Chiasso

"Affascinanti le interpretazioni di Cristina Ortiz : una conoscenza dello strumento e del repertorio notevolmente profonda, al servizio di un’ ispirazione fra le più fantasiose, in cui appaiono costantemente, in maniera diretta o indiretta, ritmi di danza..."