Ruhr Nachrichten, 22.01.01
“[….] Julia Bartha … tackles the outer movements of the Appassionata in F minor op. 57 with an extreme dynamic differentiation rarely heard: simply matchless.”

Schwarzwälder Bote, 21.05.01
“Cornelia Froboess and Julia Bartha: […] At the piano Julia Bartha fulfilled the musical part with brilliance.”

Göttinger Tageblatt, 04.02.02
With Baroque lightness: GSO concert with Nicholas McGegan and Julia Bartha
“[…] It was an original cadence by Beethoven in which the composer provides ample scope for pianistic and improvisational skills: a cadence with all the trimmings, so to speak. But generating power was by no means the only feature of Julia Bartha’s pianistic accomplishments. In the slow movement she allowed cantilenas to blossom before releasing fireworks of dancing energy and wondrously beautiful musical moments of wit in the finale – and in this she and the conductor were kindred spirits.[…]”

FAZ, Rhein-Main-Zeitung, 20.02.04
Colourful and feather light: the Bartha siblings
“ […] strongly expressive vitality and eminently virtuosic competence of both musicians […]”

Badische Neueste Nachrichten, 17.02.2004
“[…] These contrasts, presented in perfection, made her virtuoso performance into an overwhelmingly pleasurable listening experience.”

Badisches Tageblatt, 26.10.04
‘Sheer Mozart’ enthuses audience
“[…]Mozart’s Concerto for the Pianoforte KV 503 is regarded as one of his hardest to play, but, working very well together with the conductor, Julia Bartha overcame every difficulty with fascinating lightness of touch. The slow movement, Andante, came across as measured, while the final movement, Allegretto, was magnificently virtuosic, a Rondo that in the manifold dialogues with various orchestral parts called for breakneck technique which she artfully delivered with exceptional accuracy. It seemed close to sorcery. To calm the mood, Julia Bartha presented a delicate offering for solo piano as an encore, spreading tranquillity. This was indeed ‘sheer Mozart’.”

Michael Schäfer, Göttinger Tageblatt, 8.11.11
“In Prokofiev’s 4th Sonata Julia Bartha delivered lasting proof of her mature creative power. With her highly cultivated touch, clear sense of form, intelligent phrasing and lively gestures she rendered the Sonata’s sound-world extraordinarily vibrant.”