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'Her Chopin recital was more than a success and the same went for the master class for senior pianoforte students...'-Mathures Paul, The Statesman (Calcutta, India)

"Definitely, The Juilliard School in New York sends us remarkable musicians...Her numerous concerts have already crowned a talent and the gifts of an accomplished musician whom we have discovered at Salle Cortot...her sound is superb, powerful, harmonious and was displayed generously in the Chopin pieces and the grand Schumann Fantasy in C Major so formidable and feared by pianists...a name to remember.'- Le Parisien Libéré (Paris)

'She mesmerized her audience with works by Liszt, Chopin and Beethoven.' -Bonner Rundschau (Bonn, Germany)

'its realization (Debussy Preludes, Book I) was entirely successful, her sensibility and her wide range of colors mirroring the composer's, her response to the wit, the humour and the subleties of these pieces unfailingly perceptive. From the opening Prelude ..., it was evident that devotees of Debussy, as well as connoisseurs of piano-playing would be favoured with music-making of fine quality. Encompassing all Nielsen Suite's peculiar technical difficulties she gave a performance of this very individual music so compelling...She ended with an impressive performance of the Ballade No.1 by Chopin.' -Reviews of London Recitals

'Adolovni enthralls in sell-out concert' -Borneo Bulletin (Brunei)

'wide range of keyboard colors and dynamics at her disposal. Debussy's "Feux d'artifice" was deftly set aglitter and there was propulsive energy to spare in the Hungarian Rhapsody No.8 by Franz Liszt….successfully delineated the varied moods of the 24 Preludes by Chopin and confidently met their technical demands.' -The New York Times

'lovely sound made by "Les sons et les parfums", its diverse textures finely balanced. "Les vents dans la plaine" made the right sort of fleeting, insubstantial impression also, and the harp-like flow of the latter pages of "Voiles" were well managed. I enjoyed the cloistered sonorities of the outer sections of "La Cathedrale engloutie". Miss Acosta's was a fresh and astringent interpretation of the Nielsen Suite because each detail was properly focused while the larger perspectives were kept in view. The strength and decision of this playing matched that of the music. Chopin's Ballade No.1 received a splendid performance.' -London Times

'the audience was enraptured...played with technical security, rhythmic verve and fine sensitivity to colors….created pianistic cascades in Debussy.' -Berlingske Tidende (Copenhagen)

'In "La Puerta del Vino" (Debussy), her piano was expressive and had the required "passionée douceur". In "Ondine" she spread a delicate wash of colours and her "Feux d'artifice" was a sparkling, not to say crackling display…A flair for the interpretation of present day music….Skillful use of pedal. Whether high-toned and assertive, or simply quiet, Adolovni Acosta's playing was always communicative as was further proved in the challenging diversity of Chopin's twenty-four Preludes.' -Reviews of London Recitals

'Most convincing was her interpretation of Robert Schumann's Fantasy in C-major, op.17. Her playing was not only a faithful reproduction of the written music but a revelation of the possibilities for individual interpretation. The determination to achieve something personal seemed to be common to both the composer and the interpreter.' -Svenska Dagbladet (Stockholm)

'One other soloist warrants note -- Adolovni Acosta, who shared with Eugene List a well-modulated pastoral section of Rossini's 'William Tell'. How many duo renditions of this have we heard in our lives? Yet these two artists managed to make the old warhorse sound new and lovely.' -Sunday News Journal (Wilmington, Delaware)

My parents, uncles, aunts, high school teachers, college professors, piano teachers, and childhood neighbors who played the piano.

Professor Jose Maceda, composer and internationally renowned Filipino ethnomusicologist for whom I worked as a research aide at the University of the Philippines.

Annie Fischer, Wilhelm Kempff, Alfred Cortot, Magda Tagliaferro, Lili Krauss, Guiomar Novaes, Clifford Curzon, Jeanne-Marie Darré, Clara Haskill, Gina Bachauer, Wilhelm Backhaus, Artur Schnabel, Myra Hess, Moura Lympany, Walter Gieseking, Artur Rubinstein, Sergei Rachmaninoff, Vladimir de Pachmann, Anton Kuerti, Vladimir Horowitz, Sviatoslav Richter, Emil Gilels, Orazio Frugoni, Charles Rosen, Claudio Arrau, Nikita Magaloff, Tamas Vasary, John Lill, Jorge Bolet, Victor Borge, Alfred Brendel, Martha Argerich, Glenn Gould, Van Cliburn, Miecyzlaw Munz, Zenon Fishbein, Eugene List, Jean-Yves Thibaudet, Radu Lupu, Shura Cherkassky, Mauricio Pollini, Vlado Perlemuter, Alicia de Larrocha, Walter Klien, Gerald Moore, Murray Perahia, George Gershwin, John Ogdon, Idil Biret, Richard Goode, Benedetti Michelangeli, Grant Johanssen, Eugene Istomin, Stephen Bishop, Peter Rösel, Raymond Lewenthal, Jerome Rose, Garrick Ohlsson, Jean-Philippe Collard, Peter Schmalfuss, Balint Vazsonyi, Pablo Casals, Gregor Piatigorsky, Mitislav Rostropovich, Leonard Rose, David Oistrakh, Yehudi Menuhin, Ida Haendel, Carroll Glenn, Isaac Stern, Maria Callas, Jussi Bjoerling, Dietrich Fischer-Dieskau, Elizabeth Schwarzkopf, Elizabeth Söderstrom, Elly Ameling, Cecilia Bartoli, Jessye Norman, Eugene Ormandy, Wilhelm Furtwangler, Charles Munch, William Mengelberg, Alfred Wallenstein, Eugene Yokum, Paul Kletzki, Bo Lawergren, Cesare Cantieri, Carl Mikalski, Jörg Faerber, Kurt Redel, William Steinberg, Maxim Shostakovich, Enrique Batiz, Kurt Mazur, Christopher Hogwood, Nikolaus Harnoncourt, Antal Dorati, Andre Previn, Claudio Abbado, Pierre Boulez, Sir George Solti, Mariss Jansons, Ricardo Chailly, Kirill Kondrashin, Franz Welser-Möst, Zubin Mehta, Louis Armstrong, Miles Davis, Duke Ellington, Dizzy Gillespie, Billie Holiday, Charlie Parker.