Unbelievable is the music of the American Ming Tsao: every sound pure, good music.
Neue Zürcher Zeitung, Alfred Zimmermann

On this evening, one wishes that the music never stops sounding.
Neue Musikzeitung, Verena Großkreutz - on Die Geisterinsel

Although, from a listening perspective, it involves a fair bit of hanging on for dear life, the shifting tangibility of the words, a multitude of fantastic individual orchestrational details and above all the genuinely dazzling range of invention displayed – no, flaunted – in this piece make it all a magnetic experience. Definitely music that needs repeated listenings, but first contact is pretty damn astonishing.
5:4, Simon Cummings, 2018 - “The Best CDs of 2017” on Mirandas Atemwende

In Europe, Tsao is much nearer to the tradition that he cares so much about: the tradition of Western art music which he exaggerates and dissects, quotes, estranges and deconstructs. The aesthetics of his musical thinking, the style and construction of his works, is the product of a highly complex thinking and virtuosic composing that shows he is a damn good composer.
Rondo Magazin, Raoul Mörchen, 2014

Alone, in this perfect swelling and receding arc of elastic storm music, Tsao has made a veritable coup. In his 50-minute opus, he breaks the prejudice that New Music after Strauss has lost its capacity to be sensual. The kaleidoscopically shattered rhythmic and metric structures, the strange, fragmentary allusions to Zumsteeg’s high classic style, in short: the artifice of the entire work vanishes, as it were, into the foaming waves of a plastic, often noisy music that goes straight into the body of the listener.
Opernwelt, Albrecht Thiemann, 2014 – on Die Geisterinsel

I think it is absolutely successful, lasts a good half hour, and is a very powerful sound language that one experiences, quite fresh and actually sounds in every single beat, as if by Stockhausen himself.
Deutschlandfunk, Jörn Florian Fuchs, 2013on Plus Minus