Pletnev recorded the work with none other than Martha Argerich for Deutsch Grammophon, and thus Berlinskaya and Ancelle go up against very formidable competition. Who wins? [...] Overall, it’s a close call between the two performances, but I would choose the Berlinskaya/Ancelle... The performances by the duo are splendid on all counts, with well judged tempos, spirited rhythms, nuanced dynamics, and accurate playing.
It’s pretty heady stuff, and to cap it off, Berlinskaya and Ancelle are sensational pianists. This, their second album, might be classed as indispensable [...]Ancelle has made his own transcription of ten selections from Romeo and Juliet with the same eye to pianistic excitement that Pletnev brought to Cinderella. [...] If anything, Ancelle is more imaginative, playing freely with chord structure and orchestral textures.
Berlinskaya is a tremendous Scriabin interpreter. Playing of this calibre demands to be heard. If you have even the slightest interest in Russian civilisation, you will need to experience this music without delay.
This sumptuous Scriabin recital affirms a sparkling playing, the interior of a fiery interpreter concerned with measuring and poetic accuracy : Ludmila Berlinskaya.
But the fascination is mainly due to the really dazzling play of Ludmila Berlinskaya and Arthur Ancelle. (...) They also have a culture of touch, with incredibly rich shades, that gives to the melodic line a color and warmth that is rarely heard on such a level.
Ludmila Berlinskaia and Arthur Ancelle make a wonderful sound on this Saphir release of Tchaikovsky. They play extremely well and I would highly recommend this to anyone that’s looking for something slightly different.
The whirlind portions of Francesca generate tremendous power in Ancelle’s transcription. The Nutcracker character pièces are crisply etched.
With the Suites for two pianos judiciously combined, this recording by Melodiya dedicated to Prokofiev is a true and salutary success. Beautiful, tasty...
Superb technique of a duet that viscerally feels the expressive violence of those pages.
Le toucher est vivant, enjoué, précis. C’est un régal ! Et l’interprétation est aussi expressive que les titres des Silhouettes d’Arensky (…)Puis les artistes nous ont invités dans le répertoire de Tchaïkovsky avec Francesca da Rimini. Là, avec deux pianos seulement, c’est l’orchestre symphonique au complet que l’on entend, qui résonne, se répond. (…)L’interprétation de Casse-Noisette était d’une belle justesse, tant dans le tempo que dans les nuances, et il suffisait de fermer les yeux pour imaginer les danseuses et danseurs évoluer sur les mélodies...
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.
Without any abusive exaggeration, Ancelle and Berlinskaia, brilliant, playful, hurtle those heroic scales with a contagious cheerfulness !
Arthur Ancelle delivers a truly exciting adaptation of Tchaikovsky’s masterpiece. In osmosis, the duo plunges with beating heart into to the rhythm of a diabolical chromaticism, at the verge of suffocation or dizziness, alternating dramas and passions without downtime. We quickly forget the original orchestration of the score – is not it the best compliment we can offer a transcriptionist? – to recapture the spirit of Dante throughout the 22 minutes of grand piano playing. (…)
The transcription (…) of Romeo and Juliet brings together all the « hits » of this legendary score, and provides a feeling of consistency and achievement that the original orchestral suites made by Prokofiev himself didn’t bring.
There’s constant panache and concentration. (...) The French-Russian duet plunges into it with enthusiasm and authority – in the fury of the « Quarrel », the rage of the « Galop », the flame of « Gavotte » and even the dizziness of « Cinderella’s Waltz ». Ludmila Berlinskaya and Arthur Ancelle sign up a very beautiful recording (...).
The Russian-French piano duo of Ludmila Berlinskaya and Arthur Ancelle demonstrate solid performing talent and expressiveness, particularly evident in Ancelle’s own transcription of Romeo And Juliet. Cinderella, transcribed by Mikhail Pletnev, makes no less pleasant listening. Considered as a sorbet to follow Christmas lunch, this is highly worthwhile.