...“Still in his late twenties, Poom Prommachart is Thailand’s most accomplished and decorated pianist.”

"While always faithful to the score, he is unafraid of exhibiting individual touches to his interpretations."

"Musical considerations aside, I am also most impressed by Poom’s humility and gratitude to his teachers, mentors and supporters in Thailand, Singapore, England, Russia, Armenia and Canada. He has chosen the path not merely of virtuosity but that of selfless outreach, by promoting music to the young through efforts in performing, teaching, organising concerts and festivals. Young pianists of the stature of Poom Prommachart are the future of the classical piano in Asia."

The Straits Times, Singapore, by Dr. Chang Tou Liang (2019)

"Prommachart's version was masterful. The exuberant musicality of the artist, the solidity of his technique and, above all, the finesse of his sensitivity clearly indicate that a bright future awaits him. The long and enthusiastic applause of the audience paid them back with three unforgettable encores: La Campanella by Paganini-Liszt, Vocalise de Khachaturian and Estudio op 25 Nº 5 by Chopin."

From Poom Prommachart, Pianista Con un Cuturo Brillante se Destacó en El Teatro Solís (2019) on Khachaturian Piano Concerto

"..., a personality of genial yet incisive intelligence was projected as he launched into the majestic opening chords of perhaps the very-best-loved of Romantic concertos."

"The bell-like clarity at the top of the keyboard and his

mellifluous dexterity will long remain in the memory."

From Impressing with Tchaikovsky, The Performance of a Dashing Young Pianist at the RBSO's Season Finale (2018)

"The first half of the concert ended with Thai pianist Poom Prommachart, taking us back in time with Rameau’s Prelude The Muse’s Appointment from the Suite in D, shaking his head along with the music, before Liszt’s Variations on a theme of Bach from Weinen, Klagen, Sorgen, Zagen. A very physical player, Prommachart unfolded his body from the piano with each phrase, leaning in close for the tragic, descending chords. He handled the quiet moments with sensitivity, conducting with his left hand, but was still able to draw a huge sound from the Kawai when needed."

From Review of Limelight Magazine, Australia on Sydney International Piano Competition in 2016

...“a young Ashkenazy” 

-------- on Prokofiev’s Piano Concerto No. 2 in G Minor [London Musician Symphony Orchestra]

Seen and Heard UK Concert Review (2010)