An impressive debut… If Robert Schumann were reviewing it in his Neue Zeitschrift  fur Musik, he might aptly remark, "Hats off, gentlemen!"  Vainberg-Tatz plays his music superbly, with flair, insight, imagination and fervor that bring it to Schumanesque life in all its dimensions. Her technique is first-rate, producing a kaleidoscope of piano sounds, from intimate warmth to bold elation as the music demands… She shifts moods convincingly, the tempos are well chosen, and her rhythms are taut and exact… her judicious use of pedal, which gives her sound a luminous clarity.

"Superbly played, beautifully recorded collection" ( Schumann piano works)

"Powerful performance of Cezar Franck's monumental Prelude Choral and Fugue. She achieved clarity through a successful voicing with different touch quality or sound for each musical line.  In Bach D major Toccata Fantasia and Fugue - her finger virtuosity was all there, she managed an attractive fussion of the piano's lyrical abilities and the harpsichord staccato articulation".

"Vainberg-Tatz has a way with Schumann, emphasizing its lyricism with great swashes of color (Schumann Sonata op.11)…  A deft and expressive reading of Liszt arrangement of Chopin's  Souhait de jeune fille."

"G. Vainberg-Tatz is not only a sensitive partner. She is an excellent pianist, who gives an artistic freedom to the partner, as well immediately follows with wonderful sound, her partner's musical thought… The Ravel Sonata impressed with French finesse and impressionist sound quality,   Mendelsohn - with the striking virtuosity".

"Fascinating Interpreter"... Left an extraordinary strong impression… The creative imagination of the pianist evoked an atmosphere in which every detail was treated according to the changing moods. The audience experienced an organic development from deepest pain, through a timid awakening of new strengths, to established feeling of confidence; an interpretation which was most intimately obliged to the music and instructions of Beethoven  (Sonata op. 110). The admiration for the differentiation in touch became considerably greater in Images Book II by Debussy.  Her close contact with the keys gave a colorful delicacy, which is rarely encountered even in famous French virtuosos.

"Enthusiastic in dark, rich colors"… gave to the whole piece (Alban Berg Sonata op.1) an artistic unity in tonal structure, emphasizing the origin of the piece from romantic tradition…. The young Israeli pianist absolutely seemed to be in her element in three contemporary Israeli works which cannot be imagined to be played more intensive and colorful… In Chopin's Ballade No 4  -- uses her great pianistic potential in the organic development for the hightening of the compositional process. In Mazurkas op. 59 - played in the tradition of Arthur Rubinstein, aimed toward noble, tonal unity.

"Fascinating Chopin"…  Then there was a sensation: the pianist proved herself to be a
 Chopin interpreter of the highest quality…. She fascinated through brilliant virtuosity as well
through sensuous expression. Fire, passion, delicacy of feeling and elegance joined together
in an absolutely ideal interpretation of Chopin.

"Well Calculated Piano Drama"… she is a technically full - fletched musician with a strong temperament and good judgment… Highly commendable played Schumann's big and demanding Humoresque.

"Medalist Tatz featured at recital"…is a solid pianist whose best work has honest emotion and strength of tone…. Rich, solemn performance of Bach-Busoni Chorale prelude. She has a special affinity for the impulsive, visionary music of Scriabin, as shown by her surging performance of Sonata No2.

"Finally we met in our Philharmonic Hall Golda Vainberg-Tatz. From the opening sounds, the delicate, attractive and subtle artist seized our attention with her unexpectedly light, uncomplicated, elegant and clear manner of playing. The pianist has developed a good touch, which she uses to enlarge the scope of sound between piano and mezzaforte, mezzaforte and forte, and the forte, shaded in different gradations. The many nuances of colors, harmony, genre painting, and unforced pianistic bravura - all of these were at the pianist's center of attention. G. Vainberg achieved the dramatic, dynamic climaxes with ease. She communicated to the orchestra her characteristic piano tone: a mezza voice, "speaking" tone.. It is a pity that we could hear only this single opus ( Saint Saens G minor piano concerto) played by Golda Vainberg, which revealed to us just a small part of this attractive, unusual and artistic pianist's character. It will be interesting to hear more performances by this artist, particularly a solo recital.

" The pianist embodied the elegance and graciousness of the Saint Saens Second Concerto, her clear passages runs, finger dexterity, powerful rhythm and personal pathos, - all excellently represented the French virtuosic music school…. It was a beautiful duet between the piano and the orchestra in the gracious Scherzo… With great enjoyment we listened the young pianist's long double notes passages, the fireworks of the 3rd movement Tarantella, the clean pedaling, beautiful singing piano, bells -like ringing forte…

"Golda Vainberg showed considerable interpretative power and sound and well worked out technique, which convincingly served her musical purpose. Beethoven Sonata op.28 emerged with persuasive strength and Scriabin ( Sonata op.19) with strong emotional appeal."

"Lithuanian born pianist Golda Vainberg-Tatz proved herself an artist of depth and virtuosity Sunday afternoon at Adamant Music School's Waterside Hall. Although she possesses an easy technique, it is her warm touch and unfettered feeling that makes her capable of a real romantic grandeur. Most notable were her performances of music by Schumann, particularly in the satisfying "Abegg Variations". She matched the variety in the variations with genuine expressiveness and warm touch that ranged from delicate to powerful - with never an ugly note."