Chang Tou Liang, The Straits Times, 5 October 2012:
"... In Rachmaninoff's First Sonata, Saba built up the protagonist's struggle in his pact with the Devil like an enormous arch, gripping and unrelenting in its vice-like hold. The Mephistolean finale ... was launched with all guns blazing ... this hell-for-leather performance must be hailed for its Herculean effort and sense of inevitability."

The thrill of understated piano virtuosity at Music Nairn:
(On Rachmaninoff's First Piano Sonata) Saba's clarity was remarkable - absolutely rapt attention from the audience - a master of the keyboard whose modesty endeared him to the audience. (Dec 2011)

The Times:
“… exquisitely refined playing – strongly communicative and splendidly full-blooded.”
Daily Telegraph: “It was the warmth and flexibility of his reading that most commanded respect.”

The Times:
“His playing was out of the ordinary in its involvement … he has a strong instinct for the melodic moment … his technical brilliance could hardly have been more dazzling.”

Gramophone (CC012):
“Impressive pianism – imaginative use of colour … technical finish in his playing is superb … I have no reservations in recommending this enterprising release.”

Which Compact Disc? (CC012):
“A feast of pianistic variety – Geoffrey Saba proves to be a considerable performer with an individual style – a tour-de-force in every way!”

The Age:
“He played with an autocratic vigour which is most refreshing on the ear. His Bartok was impressive as the massive ostinatos built to great climaxes … the tone quality was not artificially inflated like the dollar, but had real productive density behind it … in the Schubert he allowed the music to delight in the experience of rediscovery.”

The Daily Mirror:
“Certainly one of the most impressive piano recitals for many years … a tour-de-force … he dispatched the Bartok with fluidity, masculinity, and cogent attention to its springy, salty rhythms.”
Lloyd Bradford Syke, Australian Stage, 22 October 2012: 
"... He plays with a Russian fervour. There's no pussyfooting; his rendition is mercifully devoid of faux, fey, or fay delicacy. It is unaffected; ringing with sincerity, clarity, forthrightness, candour, class and maturity ... It exudes the utmost taste". 

The Straits Times:
“There was a natural flow to the trilogy that was both logical and spontaneous. Beginning with the E major Sonata Op 109, poetry issued forth from Saba’s hands. His was not an over-analysed, over-calculated reading often encountered in competitions or student recitals, but one that suggested a life-long experience and struggle with the inner messages of Beethoven … In the ultimate C minor Sonata Op 111 Saba was fully in tune with Beethoven’s fist-shaking and sabre-rattling rhetoric, and the valedictory final movement exhibited his full gamut of dynamics. That this epic cycle of 32 sonatas ends quietly on a harmonious C major chord speaks volumes. All is well in the world.”

The West Australian:
"I cannot recall ever before listening in Perth to the massive Sonata in D D850. It is excruciatingly difficult music to bring off successfully but Saba gave us an enthralling reading, a performance that focussed unerringly on minute, finely articulated detail without for a moment losing sight of the grand sweep of the work. Saba is a master tone-colourist and he employs that gift to the maximum; dandelion-delicate pianissimi cheek by jowl with massive, fanfare-like climaxes that astonished the ears. And he was no less persuasive in evoking mood whether of grandeur in the opening allegro vivace or delightfully insouciant, peekaboo arabesques in the concluding rondo. Rather like those steam cleaning machines that are used to get rid of accumulated grime on old buildings to allow them to be seen in their original, pristine glory, Saba's intense musicality enabled him to offer Schubert's much loved Moments Musicaux in a way that made one feel as if these exquisite miniatures, too, were being heard as the composer had wished them to be played."

Peter McCallum, Sydney Morning Herald, 17 October 2012:
"... Saba drew out the glowing lyrical quality with a poetic sense of line, moulding the architecture of the work with focused intensity and impressive cumulative impact ... consummate musicianship." 

Sydney Morning Herald:
“A cumulatively impressive recital … respect reached a level many other pianists might envy.”

Musical Opinion:
“A pianist of very impressive technical abilities … thoroughly at home at his instrument and constantly aware of phrase shapes and contours … enviable dexterity.”

Limelight (CC005, CC006):
“Saba’s communications of the 20th Century disc’s changing dimensions, contrasts and bruising moods was eloquent and evocative. He has an affinity with Debussy and his performance of Leonard Borwick’s transcription is beautifully shaped and well controlled. Berg’s one-movement sonata too is given a powerful reading, Saba probing the shifting textures with an accomplished ease pinpointing the moments of romanticised yearning with a keen intensity and skill. Ravel’s Gaspard de la Nuit seethes with vivid effects
This performance of Beethoven’s Diabelli Variations wins me over with its acute exploration of irony, pathos, rage and humour to mercilessly pounding virtuosity.”

Fine Music (CC008):
“Saba allows the music to speak for itself … a reading of great intensity and drama … the music continues to move forward, never allowing us to get bogged down in any pianistic self-indulgence … Saba’s precision of tone had me scarcely wanting to breathe for fear of disturbing the atmosphere. Wonderful piano playing and a first-class CD.”