Discography

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What Chitose Okashiro has done here - is miracle! This "Prometheus" lifts you out of your seat and propels you into the cosmos of Scriabin's great vision. And this doesn't just occur in "Prometheus" but in hte accompanying short works as well. 

(David N. Lewis from liner note)

…she is a pianist of phenomenal talent…To my utter astonishment, I was completely bowled over by it. At my time of life “astonishment” is an increasingly rare experience, so I’m more than content to be astonished.…there are lashings of rumbustious rubato and hair-raising hairpins that should bring tears of mirth to the eyes of even the most hardened Mahler purists…she finds something that to the best of my knowledge no conductor has found nor, I suspect, would dare to find: bedlam! Rarely, if ever, has that "heart" been so "sorely wounded". Of all the passages that have given me pause for thought, this one, more than any, vindicates Okashiro’s claim that there are some things that the "target instrument" of an arrangement can, in some way, do "better" than the original scoring…Pretty well all the notes you hear are recognisably from Mahler’s hand, and I get the feeling that Okashiro’s arrangement has somehow - and incredibly - hung on to most of them! In so doing, she has set herself a very considerable virtuosic challenge, which by the sound of it has brought her right up against the stops of her present capabilities. My guess is that the sheer block-busting effort involved, allied to the nature of the piano, is what produces this palpable sense of tempestuous chaos. What’s more, there’s no sense of Lisztian showmanship here, just red-raw, blood-curdling musicianship.… astonishingly audacious…  

  Paul Serotsky - MusicWeb International, UK-

…her playing here is astonishing. With such a variety of texture and color, and so many notes flying by, it’s hard to believe that she doesn't have an extra hand or two. The opening movement's well-known, tender second theme sings as soulfully as a full contingent of strings. The frenetic development section, with its tremolos and thundering octaves, is surprisingly pianistic, sounding right out of Liszt’s "Dante" Sonata. The scherzo-like third movement is a tour de force, its cascading double notes whirling by with incredible precision. Undoubtedly you don't need this CD to become familiar with Tchaikovsky's last symphony, but if you want to be wowed by some staggering piano playing, have a listen.
Ira Rosenblum - New York Times-