Alessandra Ammara ha una particolare predilezione per la musica di Chopin. Il suo CD Arts con le 4 Ballate, la Fantasia e la Barcarola ha ricevuto entusiastiche recensioni. La sua incisione delle polacche è stata inclusa nel cofanetto Brilliant con l'integrale della musica di Chopin. Il suo DVD con i 24 Preludi, trasmesso da Rai 3 e Sky Classica, ha consolidato la sua fama di interprete chopiniana. Nelle prossime stagioni, Alessandra Ammara presenterà in concerto programmi monografici dedicati a Chopin, comprendenti le Ballate, la Fantasia, la Barcarola, i Preludi e una selezione delle Mazurke.
Recensioni del CD "Chopin: Ballades" (Arts, 2008)
A vividly communicative artist who leaves no stone unturned in her search for the composer's inner heart and truth.
Bryce Morrison, Gramophone
Remember the good old days when your choice of recordings was limited? Remember when you could claim familiarity with every recording of these pieces? Those days may be gone forever, but I dare anyone to forget these performances once heard. Ballade 1 is all poetry here. The luscious melodies and emotional passions are playedwith juicy abandon. The final coda tears away with a ferocity rarely encountered. Ballades 2-4 are played in a heart-on-sleeve manner instead of showing the usual aristocratic reserve. The intensity of the stormy middlesection of Ballade 2 is startling. The Fantasy is a colorful adventure in sound. Even the often performed Barcarolle becomes a more monumental structure in Ammara's hands. [...] This is indispensable among the many, many Chopin recitals.
Alan Becker, American Record Guide
As time progresses and more recordings appear of standard repertoire that dozens of other artists have covered, the question arises: are you happier with new releases that explore new ways of playing old music, or with new artists who play old music in the style of master musicians now dead and gone? Alessandra Ammara, 36 years old, is hereby thrust into direct competition with some of the greatest Chopin masters of the last century, particularly Alfred Cortot, Walter Gieseking, Artur Rubinstein, and Shura Cherkassky. That she emerges not only unscathed but in a favorable light is no mean achievement; these earlier pianists were among the greatest artists of all time. She plays deep in the keys, she has a wonderfully warm, rich tone, her phrasing is highly musical, and in the end one comes away with a very satisfying feeling of her ability to play this repertoire. In short, she doesn’t supplant Cortot, Rubinstein, et al., but she complements them very well indeed.
Lynn René Bayley, Fanfare Magazine