“For Beethoven’s 1st Piano Concerto in C major,  Italian pianist Federico Colli had been invited. It was a happy choice, for in Colli’s hands, Beethoven’s melodies were transformed into pure light, they were weightless, carried only by gentle currents of air, where every note, every phrase was conjured up with a unique lyrical sense. The collaboration between Colli and the orchestra with the American conductor Case Scaglione was telepathic and agreeable (…)The audience’s standing ovation was an expression of genuine enthusiasm – and well deserved.” (Nordjyske)

“We are in an Olympus of sought-after perfection, where nothing appears truly spontaneous but everything reveals an almost threatening depth. It is a transfigured Mozart, in which even the passions are so sublimated as one feels, even more than in the Fantasia in C, in the Adagio in C 356, that to listen it seems a distant galaxy, enigmatic in its apparent immobility. (…) in Mozart [Colli] really has something interesting to say. From his attention to detail, from his maniacal control of the keyboard, in fact, cold and aseptic interpretations are not born, but on the contrary full of life, even if of a secret life (…)” (MUSICA)

“It is always precious to hear this pianist perform live with his unique “perlage” of sound. Yes, “perlage”. The sound of the piano becomes like a pearl necklace. (…) Colli ’s interpretation of Beethoven 4 was deep in the lightness. And in his touch: that very first G major chord, an incredible deep but transparent sound under his hands, was a poetry which he let fade in the air for a moment. Then the pearl necklace spreads out, but there is no danger of aestheticism because Federico is intelligent and awake and the result is actually a musical drama, in thousands inner voices in the interrupted dialogue between piano and orchestra.” (Opera Click)

“His beautifully light touch and lyrical grace make the music shine.” (The Telegraph)

“We seem to be listening to music unravelling and Colli’s delicacy at such points is miraculous.”(The Times)

“It’s a monumentally well-paced performance that grips from each moment to the next.” (The Guardian)

“Whatever he plays, whatever he does, Colli compels attention. (…) Indeed, I’d place this D major Partita as the album’s real transcendent experience. It’s here that the clarity of Colli’s fingerwork brings the most benefit, along with his engineering skills. Every movement is carefully weighted to form part of a whole, from the grandiose flourishes opening the Overture to the three-minute sprint of the final Gigue. On this album, you get three dimensions, sometimes more.” (Geoff Brown, The Times)