Sep 2, 2019 / New York Classical Review

…Medusa’s Lair, from Marty Regan, left the strongest impression, and not only for being a piece for solo shamisen, played with focussed drive by Yoko Reikano Kimura. … Kimura conveyed the precise intensity of the piece, which spiraled into a well of drama. – Medusa’s Lair for solo shamisen (composed by Marty Regan) – New works push off at Bargemusic’s Hera and Now Festival 

Sep 1, 2018 / New York Classical Review

…this was the most abstract work on the program and also the most intriguing…the piece had Kimura playing graceful, carefully placed lines against audio that had a strong metrical pulse and etched rhythms. – To the Victims of Cain for solo shamisen and pre-recording (composed by Yoriaki Matsudaira) –

Nov 10, 2015 /

Kimura’s voice was rich and full-bodied and easily carried over the delicate ensemble. – Yachiyo-jishi (traditional) shamisen and song –

May 28, 2015 / ARTS+CULTURE

Whether she was zipping through the energetic sections or tossing off the glissandi that make lyrical phrases sound like they’re floating off into the air, Kimura fit every moment into a natural flow. – Maqam for solo shamisen (composed by Marty Regan) –

May 22, 2014 / The News Gazzete

Under Kimura’s practiced hand, there were also occasional dramatic and explosive passages. – Koto Concerto: Genji (composed by Daron Hagen) –

Mar 18, 2013 / New York Times

Yoko Reikano Kimura, playing the shamisen and singing, is superb – BELL (2013 Bessie Award nominated dance work | choreography, Yasuko Yokoshi) –