From the beginning a remarkable musical talent and sensitive feel for the music showed clearly from Elizabeth Rossiter’s recital… [she] interpreted Granados’ melancholic vision of ‘The Maiden and the Nightingale’ with great expressive intensity…

— Frankfurter Allgemeine Zeitung

…accompanied by the ever-sentient piano playing of Elizabeth Rossiter

— Hilary Finch, The Times

Rossiter was an excellent accompanist throughout… but her finest moment came in the piano-only ‘Entr’acte’ from Woolwich’s A Paper of Black Lines, the third chord of which descended with the dark, smothering weight of a concrete duvet. Nothing else in the recital could match this moment for me but, in that asphyxiated second, everything was brought suddenly into sharp focus.

— Tim Rutherford-Johnson,

…With the rock-solid underpinning of Elizabeth Rossiter at the piano [soprano Kiri Parker] gave the world premiere of John Woolwich’s quirky A Paper of Black Lines, willing the audience to sit up and take notice.

— Stephen Pritchard, The Observer

When Sulki Yu performs she owns the stage… The audience was immediately riveted. She appears completely at ease performing, her whole body honed to expressing the music. Elizabeth Rossiter was equally assured and the two played Bartok’s monumental sonata with character and poise. The pair seemed to have true understanding of the Bartok’s folk idioms…

— Anna Michel,

The piano solo in Act II proved especially memorable: rather than miming at the keyboard, the boy stood behind the pianist (the excellent Elizabeth Rossiter), whipping her along like a champion jockey.

— Yehuda Shapiro, Opera