"Light-years away from the cliché of an ethereal angel encrusted with imitation gold-leaf, the harpist Uschi Laar plays her instrument with the differentiated aesthetic of a classical guitarist, then with the fluent groove of a Caribbean steel drummer, and a moment later with the timeless melancholy of a harpsichordist. Oriental scales merge with the uneven rhythms of the Balkans and the free improvisation of jazz. Her harp swings, and it sets a brilliant tempo as a rhythm instrument. Soon afterwards, a melancholy ballad weaves itself around these impressions, which are then crowned by a fiery tango. Uschi Laar's fingers seem to brush effortlessly across the strings, as though she and her instrument had merged and become a single entity. When she accompanies her harp's melodies by singing a second melodic line, the instrument's sound and the human voice merge into a synthesis and it becomes impossible to say whether her harp gives the impulse for her voice to follow, or vice versa, or both simultaneously. That which is most deeply felt becomes music, and that which cannot be spoken in words finds expression through sound."
(Süddeutsche Zeitung, [South German newspaper], 2000)

"With independence and self-confidence, she constantly strives to refine her artistic expression, which transcends both the commercial compulsion to conform and the all-too-familiar clichés typically associated with the harp. She is very possibly the most artistically mature and most creative musician among today's harpists."
(Emsdettener Tageblatt [Emsdett daily newspaper])

"It's a daring endeavor for any harpist to attempt to fill an entire evening's solo program, but Laar accomplished this feat with playful ease. She led her audience into the sonic world of South America with "La Strada", followed by a fascinating excursion into her handling of Indian ragas, then transported her listeners upon a tapestry of Celtic sounds into the Medieval European harp tradition. Uschi Laar prefaced each journey with a pithy and illuminating anecdote, while incidentally and unobtrusively explaining the differences between a Scottish lap-harp, a pedal harp, and a concert harp in terms that even the least knowledgeable laymen could readily comprehend. Last but by no means least, she recounted an enchanting African fairytale to accompany her performance on an African kora (a Gambian harp-lute)."
(Frankfurter Allgemeine Zeitung [Frankfurt newspaper])

"The gently glittering sound of the instrument and Uschi Laar's serenely contemplative way of playing it invite dissimilar elements to approach one another. Contradictions coexist in paradox: a rousing, captivating rhythm acquires an airy suppleness under her hands, and a phlegmatic Russian melody becomes simultaneously cheery and melancholy. Uschi Laar's music defies categorization or comparison. It is its own creation: perfect and unique, in a style all its own."
(Flensburger Zeitung [Flensburg newspaper])