Musical Life Magazine (Russia) - March 2019

Vladimir Zisman

"The ensemble mastery of the Berlinskaya-Ancelle duo was absolutely amazing and led the audience to the greatest admiration. The unity of stroke, phrase, sound, rhythm was amazing. And the tempo changes, in particular in the Suite of Rachmaninoff were so logical that it seemed that it was not a problem for the performers at all to make all these accelerando and meno mosso together." (France) - March 2019

Christian Lorandin

"These thousand personal qualities, united by a formidable technique, give rise to one of the most brilliant and endearing piano duets of today. (...) The work flourishes in all its climates, nostalgic and dreamy, bubbling and passionate, dark and intense; the inner voices are illuminated, the architecture solid, the paroxysms reached."

Badische Zeitung (Germany) - February 2019

Alexander Dick

"The two soloists Ludmila Berlinskaia and Arthur Ancelle share this mood for playing and enchant in their incredibly dense interaction with extreme precision in technique and articulation - as if the four hands belonged to one body. Especially swirling, by the way, with the encore - the "Snowflakes" from the jazz suite of the Russian jazz pioneer Alexander Tsfasman."

Klassik Begeistert (Germany) - February 2019

Leah Biebert

"The emphasis on phrases in the piano is expressive, but does not seem overloaded; surprising accents in the percussion repeatedly break through the dreamy ductus of the second movement. The pianists of the duo Berlinskaia Ancelle pass the phrases from hand to hand almost unnoticed - both the deliberately calm of the second movement and the rebellious shimmering of the third.
Ludmila Berlinskaya plays expressively, her hands whirling over the keys to hear the castanets. She almost rises from her stool, throws her head aside and her hands in the air. Arthur Ancelle on the other side seems less excited and radiates a pleasant calm even in lively passages."

Concertclassic (France) - November 2018

Alain Cochard

"the two pianists alternate two and four-hands pieces with exemplary complicity. The same complicity they share in telling the story they have woven, and which they unfold with a mixture of humor and tenderness. (...) In the hall, adults and children enjoy a wonderful tale in music with the same happiness ; it deserves to be repeated on other scenes !"

Paris Notre-Dame (France) - November 2018

Isabelle Demangeat

"Enchanted parenthesis of a hour and a half when Claude Debussy, Piotr Illitch Tchaikovsky or Modest Mussorgsky have resumed life under the mischievous but assured fingers of the duo. They have resumed soul. Because seeing both artists bend their backs, make their fingers dance on the pristine keyboard, vibrate as they tip their head, look at each other, smile and go away with a peaceful but exhausted face, it can here be only a question of soul."

Bachtrack - September 2018

Jean Landras

"Sometimes united as a single performer, sometimes dialoguing and bringing a certain relief to the ensemble, the two pianists offer a rich palette of effects, thanks first of all to the mastery of nuances: pianissimos set so that the addition of two keyboards do not sound louder than one; fortissimos, on the contrary, of an impressive power." ★★★★★


Théo Bélaud

« A pianistic moment of rare charm and interest, investing the first Germanic romanticism with a wild versatility to which one is no longer accustomed, and enveloping two post-romantic masterpieces with disturbing sweetness and clarity. (...) this opus 109, so rare in concert outside the entire final triad, placed the evening on excessively high bases. At first by its radically complete character, leaving all oratorical precautions behind the scenes and delivering, as the text readily calls for, a speech of total immediacy, with sometimes incredible freedom and imagination. »


Denis Bocharov

« one of the best pianists of our times (...) her virtuosity, genuine sincerity and natural artistry - here are three major components of her success.»

Bachtrack - September 2017

Julien Hanck

"listening to this duo, probably the most endearing of the French scene, who will remain unmoved ?" ★★★★★


Alain Cochard

"Mutual listening and the art of color work wonders in a witty interpretation (...) La Valse by Ravel, wavering and dark, concludes a recital followed by two encore : a dreamlike Lullaby of Louis Aubert and Lutoslawski’s Paganini Variations played with such brightness and  musicality, symbolic of a duo that we would like to hear much more often in French concert halls."


Alexandre Sorel

"The evening was brilliant for several reasons, firstly thanks to the excellence of the two performers' playing, their exceptional complicity, their musicality and their perfect techniques, then by the choice of the program. (...) Ludmila Berlinskaya and Arthur Ancelle succeed masterfully: they share the same general, intellectual and sensitive conception of the score. Their cohesion, their complicity and their intelligence of the text are astonishing and give a splendid and exciting result."

Bachtrack - January 2017

Manuel Gaulhiac

"The strength of the Berlinskaya-Ancelle duo is the collusion of the two pianists, whose complicity as a husband and wife is naturally transposed into music." ★★★★

Bachtrack - November 2016

Manuel Gaulhiac

"There are rare and precious people who have kept their enthusiasm, gaiety and freshness from their youth, as if time only had the effect of a delicate breath, too insignificant for the petals of youth to fade and fly away... Ludmila Berlinskaya is one of these people" ★★★★★


Oksana Koginova

"France and Russia, like water and fire, joined in this amazing duo, bringing a piece of their culture, a piece of themselves, from opposite sides they found a way to join in a single whole thanks to music. Creating a symbiosis of sound and beats, they do not just play but live each tune. That genuine sincerity that filled every Suite and Ouverture is impossible to put into words. They seemed to be talking, engaged in a discussion using the language of notes where actual words are useless. They completely dissolved in music, bringing pure art to the audience."

Resmusica - January 2006

Jean-Christophe Le Toquin

"On a musical level, Ludmila Berlinskaya and the Danel Quartet are outstanding musicians. (...) The universe of the composer is perfectly familiar to them, obviously intimate. Whether their interpretation is dreamy or rhythmic, dancing or tense, they are natural, they sound right. Another essential quality is that, whether they play separately or united as in Weinberg's Quintet, they do justice to the work, withdrawing nothing from their art, never encroaching on the other."

Stavanger Aftenblad (Norway) - August 2004

Arnfinn Bø-rygg

"In the 14-year history of the chamber music festival, Dvorák's piano quintet op.81 had many great performances. (...) The interpretation yesterday was with the Rosamunde Quartet and Ludmila Berlinskaya. Berlinskaya acted as if she had not done anything else her artistic life than interacting with this fabulous quartet. Yesterday's interpretation illustrated remarkably the other great advantage of a chamber music festival: that it may come to reworked interpretations that go beyond the best of what you can hear in a regular concert season."

El Pais (Spain) - January 2004

Luis Sunen

"The Quartet collaborated with the excellent pianist Ludmila Berlinskaya, small and nervous, fiery and attentive."

Nezavissimaya Gazeta (Russia) - February 2003

Varvara Turova

"Under Ludmila Berlinskaya's fingers, Schumann became so soft, tender and touching that it seemed as if this music had been written especially for her. No more no less. (...) It is impossible not to like how Ludmila Berlinskaya played tonight. Richter would have agreed."

Gazeta Kultura (Russia) - February 2003

Olga Philippova

"they played Schumann's quintet with a remarkable pianist, Ludmila Berlinskaya, who astonished us with such precious emotional freedom as rarely found in classical music concerts. Sometimes miracles happen"