-Saigon Times: "In praise of the extraordinary Stephane Tran Ngoc.... he was the epitome of dazzling technical brilliance.... a concentration and imaginative sympathy... displayed in a most extraordinary way... in his hands, it became a work of mesmerizing intensity and beauty... Stephane Tran Ngoc must be (Paganini's) equal. A concert of a lifetime.
-Le Monde de la Musique : « Sensitive and delicate soloist, the violinist Stéphane Tran Ngoc has a warm tone that fits perfectly the Ravel Sonata ».
-Toscalusa News: « (The DaPonte String Quartet) is not an ensemble to put aside. For one thing, it includes among its members the remarkable violinist Stephane Tran Ngoc ». -Centre Presse: « With the Mendelssohn concerto, very marked by the soloist’s personality, everything changed: impassioned, glowing, the young virtuoso Stéphane Tran Ngoc has a full tone, warm, never forced. His interpretation fit particularly this work full of charms ». -Le Monde: « A revelation, a moment of happiness, a violinist with nerves of steel, young infallible pope in Schumann and Prokofiev. »
-Compact Disc Classique: « Stéphane Tran Ngoc has a playing that already shows a certain maturity: pearled tones, balanced phrasings, precise fingerings. A real poet’s apprentice too with this innate way of making his instrument sing with a veiled sparkle and right à propos ».
-The Washington Post: « an impassioned, razor edge performance, he has that magical quality wherein his instrument appears as a seamless extension of his spirit ».
-Luister Magazine: « Anyone who knows the thematical difficulties of the work will be surprised to see how Stéphane Tran Ngoc plays them, with (apparent) ease he is a pure-bred musician. His extremely delicate tone, like the flow of a stream, will not be directly associated with Schumann, but the result is just sublime ».
-The Strad: « exceptional virtues of tone and intonation, an uncommonly successful account, he brought the audience to their feet… most impressive ».
-Nord Eclair Matin: « this master piece (Brahms concerto) is also for the soloist some kind of a permanent challenge that does not sacrifice all to virtuosity. One needs some, and the young soloist does not lack any. He still uses it with a surprising maturity, avoiding with ease the perils of a definitely non-complaisant score, rigorously and in perfect mastery ».
