Christina Petrowska Quilico with the TSO




*** Four JUNO nominations ***


Glass Houses Revisited (Music of Ann Southam):

One of The 30-best-Canadian-classical-recordings-ever CBC Music (on a list with Glenn Gould`s recordings of the Bach Goldberg Variations, and other major classics)


One of 10 Pieces of Classical Music Everyone Should Know CBC Music (on a list with Bach, Beethoven, Schubert, Brahms, Chopin, Rachmaninoff, Strauss, Bizet and Copland).


One of 10 Piano Pieces Everyone Should Know CBC Music (along with works by Debussy, Chopin, Beethoven, Ravel, Liszt, Glass, Bach and Handel)


One of five Best Canadian Classical Pieces Ever Written (Glass Houses series), Friends of Chamber Music (Vancouver)


“This recording is the result of an extended collaboration – and friendship – between the distinguished Canadian composer Ann Southam and her most devoted interpreter, pianist Christina Petrowska Quilico. Petrowska Quilico selected an assortment of pieces from Southam’s 1981 Glass Houses series, then added her own spin with the composer’s blessing. She describes them as ‘fiendishly difficult etudes’ played at breakneck speed. Petrowska Quilico manages the technical demands with supreme virtuosity and creates a complex sound tapestry that pays personal tribute to one of Canada’s most engaging musical figures.” – Denise Ball, CBC Music Classical/blogs:The-30-best-Canadian-classical-recordings-ever


This is difficult and nuanced music, and Christina Petrowska Quilico is entirely up to the challenge. Apparently the pianist was a very active collaborator, credited with “editing and revising” these works (originally written in 1981) for these two recordings. The pianist writes: “There are no indications of dynamics, phrasing, fingering, pedaling, or other direc- tions in the score. When I asked her for some suggestions about these pieces, Ann wrote to me, ‘I trust your musical judgment complete- ly’. As a result, this has been a unique, person- al and intimate journey in bringing these pieces to life.” These performances are deeply musical and affecting. American Record Guide -September/October 2014

Worlds Apart – Double Album of Canadian Music (Classics With a Twist/Worlds Apart) – Centrediscs CMCCD 23717, 2017

“Petrowska Quilico has a wonderful touch in these miniatures, an intrinsic understanding of voicing that lends itself well to creating each atmosphere with due expediency [re John Rea’s Las Meninas]…. Though all the pieces featured in this collection are Canadian works and ‘contemporary’ by most standards, I found it stunning I am the same age or younger than each. Yet, in several cases, Petrowska Quilico is still the only recording artist to devote studio time to these works, all of which deserve second, third, multiple hearings. For this, the collection is not only a great service to the Canadian musical landscape, but a testament to Petrowska Quilico’s sweeping vision.” – Kiersten van Vliet, La Scena Musicale


“Canadian pianist Christina Petrowska Quilico unleashes the eight works here with such immediacy that she creates a special kind of pianistic excitement. Her technique is brilliant and her imagination boundless….above all you feel the fierce conviction that underlies her vision of each composer’s score.

This set certainly showcases Petrowska Quilico’s talents, including her talent as a painter. The painting by her on the booklet cover…beautifully sets the tone for this terrific collection.”

Pamela Margles, The WholeNote


« Elle est une musicienne très sensible, en plus de posséder une solide technique, ce qui en fait une interprète recherchée par nos créateurs. Qui plus est, elle est manifestement passionnée par la nouvelle musique, ce qui s’entend tout de suite quand on l’écoute jouer…. Quilico est une artiste totalement engagée dans sa passion de mieux faire connaître les compositeurs d’ici. C’est une passion que je partage entièrement. Des artistes comme elle, et des albums comme celui-ci, sont essentiels. Merci. » – Frédéric Cardin, IciMusique (Radio-Canada)



“She is a very sensitive musician, furthermore possessing a solid technique, which makes her sought after as an interpreter by our musical creators.  What’s more, she is totally passionate about new music, which is immediately heard when one listens to her play…. Quilico is an artist totally engaged in her passion to make the composers from here better known.  This is a passion I completely share.  Artists like her and albums like this are essential.  Thank you.” – Frédéric Cardin, IciMusique (Radio-Canada)


Mozart: Sonatas and Variations for Piano and Violin, Vol. II (Fleur de Son Classics FDS 58040)

“She [Quilico] obviously relishes this music and really digs in. It is all Israelievitch can do to match her enthusiasm. This is how this music should be played. There is a feeling of freedom and ebullience in these performances that I attribute mainly to the wonderful Quilico, and she is one of the most satisfying pianists I have heard in this music. I enjoyed their first disc in this series, too, and I hope they have a complete set planned. Good, full-bodied sound.” – Magil, American Record Guide


“When reviewing Volume I in June of last year I noted that these works are perfectly suited to Israelievitch’s distinctive style and sound…it should go without saying that Petrowska Quilico’s playing is the perfect complement. … It’s another volume in what will clearly be a series to treasure, and one that continues to be a wonderful tribute not only to a greatly missed and much-loved violinist but also to his companion at the keyboard.” – Terry Robbins, The WholeNote


“…Detailed engineering graces the second instalment of a Mozart cycle from Jacques Israelievitch and Christina Petrowska Quilico. In July 2015 the duo presented a concert at the Chautauqua Festival devoted to the Mozart sonatas. A few months earlier the violinist had been diagnosed with lung cancer, to which he succumbed on September 5… With that in mind, there’s nothing remotely tentative about Israelievitch’s focused tone, cultivated phrasing and flexible ensemble interaction. Quilico’s accomplishments…for instance, her strong, dynamically contrasted pianism in the Adagio of the E flat Sonata, K481, underlines the music’s operatic nature. Indeed, I look forward to this series’ remaining volumes.” – Jed Distler, Gramophone



Mozart: Sonatas and Variations for Piano and Violin, Vol. 1 (Fleur de Son Classics FDS 58034)

“These works are perfectly suited to Israelievitch’s distinctive style and sound, which was always warm, gentle and sensitive…. It’s obvious that Israelievitch and Petrowska Quilico are of one mind in their performances…. If this first volume is anything to go by then it will be a series to treasure, and one that will be a wonderful memorial tribute to a great and much-loved violinist.” – Terry Robbins, The WholeNote


“…Beautiful and virtuosic, dynamic on the part of Quilico and finesse from the violin sounds of Israelievitch.” – Ed Farolan, Review Vancouver


“…So full of the rhythms and colors of life, taut and firm, and always endowed with the warmth that Mozart requires. …. Israelievitch and Petrowska Quilico obviously enjoy the wealth of melody and the increasingly rich chromatic harmonies in these three works, so reminiscent in many ways of his writing in the operas with which they were contemporary, from Abduction from the Seraglio to The Marriage of Figaro. The joy of music making is evident in every single measure. Highly recommended. (If this CD doesn’t win one of Canada’s Juno Awards next April, there’s no justice.) – Phil’s Reviews, Audio-Video Club of Atlanta


Chosen Disc of the Week on CBC Radio Two’s In Concert.


Jacques Israelievitch and Christina Petrowska Quilico play with a modern style without any influence from PPP [period performance practice]. Their playing is red-blooded and wants nothing in enthusiasm. They find richer textures in the music than [a recording being compared] and more variety too. They are especially wonderful in the two later sonatas. It is labeled “Volume 1”, and I really look forward to the series. – MAGIL, American Record Guide September/October 2016


Fancies and Interludes – with Jacques Israelievitch, violin (Centrediscs CMCCD 21315, 2015)

“…Both a labour of love and musical declaration, intuited and played by two ingenious and accomplished musicians… it has the immediacy and the vigour of a live performance… which makes the music come alive with the splendour of the excitement (or the sorrow) of each precious phrase as it was played in the moment…. The programming on this CD is exquisite – the compositions flow one after another as if they were meant to be. Israelievitch and Petrowska Quilico allow the impulse, the urge to soar and expand in their playing while granting the listener a breathing space – the true embodiment of Fancies and Interludes.” – Ivana Popovic, The WholeNote


“In this CD we hear an astounding level of virtuosity. Both performers also deliver eloquent interpretations filled with individuality and rich expression. … Drop [by James Rolfe] has a special authenticity which creates an atmosphere that fascinates the listener. I applaud the interpretation and superb technical execution of both performers. … As a violinist, I was fascinated by the diverse violin techniques and musical language that [Gary] Kulesha uses, which make the piece very appealing. I can feel the excitement of the musicians and how deeply the piece affects them by the way they transcend the musical execution. The sound is rich and resonates with remarkable impact. There is a variety of nuance, colour, and character infused into the piece that is delivered through the intelligent interpretation of both performers. This is a perfect example where the essence of the composition moves the musicians and the listener. … Jacques Israelievitch and Christina Petrowska Quilico deliver a performance of excellent musicality [Fancies and Interludes VI, by Raymond Luedeke]. … The music of this CD will challenge many listeners, but the performers are presented in a most favourable light. I recommend this recording to listeners who enjoy contemporary classical music. The program notes are quite thorough and the sound quality is exceptional.” – Ralitsa Tcholakova, CAML Review/ Revue de l’ACBM (Canadian Association of Music Libraries, Archives and Documentation Centres)


Ann Southam: Glass Houses Volume 2 (Centrediscs CMCCD 20114, 2014))


The Best Canadian Classical Pieces Ever Written: Ann Southam’s Glass Houses Series

“Acclaimed Canadian composer Ann Southam’s most personal and insightful interpretation is by Ottawa-born pianist and Julliard graduate Christina Petrowska-Quilico. Southam and Petrowska-Quilico’s friendship and collaboration resulted in “Glass Houses Revisited”, a recording of what Petrowska-Quilico deemed ‘fiendishly difficult études’ by Southam, played with deft precision in an endearing tribute.” – Friends of Chamber, Vancouver


L’offrande musicale

« La musique répétitive et pulsative de Glass Houses est célébrée ici avec un éclat chatoyant, tant par la créatrice que par l’interprète. Ce disque est une offrande musicale respectueuse et lumineuse d’une pianiste à une amie compositrice, et de cette amie à un grand mentor contemporain. » – Frédéric Cardin, (Radio-Canada)


Translation: The Musical Offering

“The repetitive and pulsating music of Glass Houses is celebrated with shimmering brilliance, as much by the creator as by the interpreter. This disc is an homage and luminous musical gift from a pianist to a composer friend, and from this friend to a great contemporary mentor.” – Frédéric Cardin, (Radio-Canada)


“You know what they say about people who live in glass houses. They shouldn’t throw stones, but what about tossing handfuls of diamonds into the air? And if we could slow down time to watch them fall, savouring their ever-changing shapes and the tiny fractions of sunlight they cast about we might have something like the visual equivalent of Ann Southam‘s set of piano pieces called Glass Houses. Richard Todd, Classical Music Sentinel


“Ms. Quilico gives us about as definitive a version as we are likely to get for some time. She has the rhythmic independence between right and left hands and the inherent pianistic artistry to make it all sing.


“RIP Ann Southam. Her memory is well served and her brilliance enshrined in this marvelous Volume Two of Glass Houses. If you are the slightest bit into pattern and repetition, you will want to hear these beautiful works and Ms. Quilico’s definitive way with them. Very recommended.” – Grego Applegate Edwards, Gapplegate Classical-Modern Music Review


“If I had to sum up the character of the music and performance on this disc in one word, it would be ebullience. I have rarely encountered music that is so ceaselessly optimistic in character. Given the daunting technical challenges these pieces present to the pianist, it is a testament to Petrowska Quilico’s consummate mastery of the instrument and intimate understanding of Southam’s compositional language that these pieces sound as effortless as they do. Further, the textures are remarkably clear, the articulations so precise, and the balance between the hands so beautifully positioned that one loses sight of the flawless musicianship required to perform these pieces; rather, one is immersed in the captivating, magical, minimalist sound-world that Southam has created.” – Edward Jurkowski, University of Lethbridge, Canadian Association of Music Libraries Newsletter


“An outstanding solo piano recording that showcases the artistry of concert pianist Christina Petrowska Quilico and her depth of insight derived from the 30-year collaboration and friendship that she shared with composer Ann Southam (1937-2010)…. The dynamics, articulations and pedalling are left entirely to the performer’s discretion and this is where Petrowska Quilico’s interpretive powers are most impressive. The pianist and production team have given careful thought to the order that the pieces appear on the album. From a shimmering opening to intense, driving movements, there are also playful moments with unexpected jazz riffs. Petrowska Quilico’s recording exemplifies the artistry and physical endurance that are required to create this seamless musical vision for one of Ann Southam’s masterpieces.” – Réa Beaumont, The WholeNote


“The music is very compelling: undulating, pulsating, the continuous surface unpredictably dotted with jabs and runs. The harmonic orientation is essentially diatonic, and the rhythmic sense propulsive. This is difficult and nuanced music, and Christina Petrowska Quilico is entirely up to the challenge…. These performances are deeply musical and affecting.” – American Record Guide


“Acclaimed Canadian composer Ann Southam’s most personal and insightful interpretation is by Ottawa-born pianist and Julliard graduate Christina Petrowska-Quilico. Southam and Petrowska-Quilico’s friendship and collaboration resulted in ‘Glass Houses Revisited’, a recording of what Petrowska-Quilico deemed ‘fiendishly difficult études’ by Southam, played with deft precision in an endearing tribute.” (Re all of the Glass Houses recordings) – Friends of Chamber Music, Vancouver


Tangos Brasileiros: The Music of Ernesto Nazareth (Marquis MAR 81519)

“Touches of salon music and the romanticism of Chopin are evident in these tangos, which are quicker in tempo than their Argentinean relatives. There is so much heartfelt joy in the pianist’s performances of 24 of the composers’ piano works. In her liner notes titled “My Personal Tango Journey,” she attributes her agility in style, musicality and placement of downbeat to her years in the dance studio learning how to dance the tango. I agree completely.


“The famous Fon-Fon is driven by a zippy right hand melody which is partnered by a two-feet-grounded-on-the-floor pulse. The more traditional Perigoso – Tango Brasileiro is a swaying, sultry and steady performance with intriguing brief yet breathtaking silences. Most fun are the left hand low-pitched lines in Myosotis. Deep and rich in tone, they act as a perfect mate to the jovial salon music-like right hand melodies. Throughout, Petrowska Quilico’s well-contemplated rhythmic placements and gentler finger attacks create the sense of melodic spontaneity so important to tango music.” – Tiina Kiik, The WholeNote


“Ernesto Júlio de Nazareth (1863-1934) was a Brazilian pianist who began composing in the 1870s, nearly two decades before North American ragtime developed. He was ahead of his time already playing ragtime and other music such as foxtrot and did in fact introduce Afro-Brazilian rhythms and mixed them with European musical genres. The result was piano music that reflected offbeat accents.


“Christina reflects Nazareth’s creativity. You hear the first song in the first CD and you say, “Wait a minute. There’s something wrong here. The timing is off.” Well, that’s Nazareth for you, and

Christina mirrors his style with these ‘tangos brasileiros’.


“That’s what makes the Brazilian style of tango different from the Argentinian: it’s quicker and has a mixture of different music genres. … Christina Petrowska Quilico, an internationally known Canadian pianist, plays to the tune of dance. In fact, she says that the only way to feel the rhythm is to dance to the music.” – Ed Farolan, ReviewVancouver


« Oubliez, le temps d’un disque, Gardel et Piazzolla ! Cette remarquable pianist originaire d’Ottawa effectue une immersion totale dans l’univers du compositeur brésilien Ernesto Nazareth (1863-1934) pour en distiller la sensualité souriante et enjouée, qui se démarque de la passion virile du tango argentin. » – À bon verre, bonne table (French language magazine issued by the Liquor Control Board of Ontario)


Translation: “Forget what you knew about Gardel and Piazzolla! This remarkable pianist, originally from Ottawa, completely immerses herself in the universe of Brazilian composer Ernesto Nazareth (1863-1934) to distill a smiling and cheerful sensuality and bring out the virile passion of the Argentine tango.”


The CD was #6 of the Top 30 albums of January 13-19, 2014 on CKCU-FM Ottawa


Visions: The Complete Books of Rhapsodies & Fantasias by Constantine Caravassilis (Centrediscs CMCCD 18613, 2013)

#3 of Top 30 albums, on CKCU-FM (Ottawa) February 4-10, 2013

#1 of Experimental albums on CJSW (Calgary), week ending April 1


“…112 minutes of timeless-sounding new music for solo piano that offers something for many different kinds of listeners. Not only has composer Constantine Caravassilis…written some great pieces, but pianist Christina Petrowska Quilico has brought each to life with a compelling force. … All of the pieces are tonal, but the combinations of intertwined melody, dialogue and harmony are Caravassilis’ own. The pieces are confidently pianistic, allowing Quilico to approach every phrase — whether fantastically extroverted or contemplative — with impeccable pacing and elegant verve. Both the music and the interpretations impress more with each listen. Favourite track: “Shadow Variations on a theme by Alan Hovhanness” shows off both composer and pianist as masters of their craft.” – John Terauds, Toronto Star


“Because the music is tonal, it arrives unthreateningly, like a vaguely familiar face. One can discern a narrative, an emotional arc. And we need to credit Quilico for assured, vivid interpretations that command attention. She inhabits this musical rhetoric like a natural storyteller.” – John Terauds, Musical Toronto


“As evidenced in each of her many releases on the Centrediscs label Christina Petrowska Quilico’s technique is blazingly virtuosic but never ‘showy’ and her interpretations are always deeply intelligent and sympathetic to her composers. ….Knowing his soloist well (she was his piano teacher), the composer has created music that highlights her skills and her performer’s personality very effectively. …The overall artistic mien of Petrowska Quilico’s work in this recording I would call sunny, as in ‘radiant’ and ‘brilliant’… Her technique can be immensely delicate but also very forceful while never betraying any sense of effort… (Her) interpretation ensures a delicious listening experience.” – Nic Gotham, The WholeNote


“…A meditative, minimalist mélange of Middle-Eastern/Mediterranean folk-song and dance motifs, composed partly in regional modes with flavours of traditional Greek and Turkish instruments coming out of the piano.   To my ear, it sounds like spiritual pianism, of the sort that came out of the collaboration of the Armenian mystic G.I. Gurdieff and his student, the pianist Thomas de Hartmann in the late 1920’s…. The music (of Visitations) is vivid, and the pianist’s technique so flexible, that she is able to lose herself in an almost endless variety of moods, feelings, shifting drama…” – Stanley Fefferman, OpusOneReview


“Filled with numinous beauty and sublime expressiveness, these pieces embody the best things about piano music – its power to arouse, to placate, to beguile, suggest mystery, and express plainly what is hidden…. There is a palpable connection between the musician and the work that is quite attractive, and lends emotional gravitas to the performance…..Rapturous” – Chris Morgan, Scene Magazine, London ON


Visions is…an enormous double CD of great scope. The title is apt, as the music is visionary….

Listening to the CDs –and I continue to listen to them—I have to say CPQ is genuinely open, positive. Her playing is inspired on the CD, possibly because she was inspired: by the music.

There’s much more one can say, about the music, the paintings she’s gone on to do in response… But I’d suggest you investigate Visions for yourself. It’s unexpectedly wonderful. I gave it a listen, and I am glad I said yes.” – Leslie Barcza, Barzablog


“Formerly the composer’s private piano teacher, Petrowska Quilico not only studied thoroughly the great musical creations of her student, offering truly unique interpretations, but was able to give life to his multilayered inner universe in an incomparable way: deeply moved and inspired by this wonderful musical material, Petrowska Quilico was also able to express her inner thoughts on this music through painting.


“The style…orbits about 20th century and contemporary trends, but without forgetting Liszt, Grieg and Ravel. The stupendous result can be best described as the birth of a personal musical language, one that is clearly Caravassilis’ own.


“Everything about this recording is simply excellently structured and orchestrated. Though this music might prove quite the obstacle for a younger pianist, it enables mature pianists (such as the composer’s former teacher in this recording) to showcase his immense talent.” – Thomas Tamvakos, Jazz and Tzaz
“Ms. Petrowska Quilico provides fine interpretations of these works. Her use of colour and pedal is penetrating and rich, and she imbues the phrasing of the gesture-pause-gesture-pause with enough variety to hold the works together and avoid mannerism.” – Jon Gonder, State University of New York at Geneseo, Canadian Association of Music Libraries Newsletter


Tapestries: Concerti by George Fiala and Heather Schmidt (Centrediscs CMCCD 17011, 2011), (JUNO nominated)

“Christina Petrowska Quilico’s significant contributions to the recorded contemporary Canadian piano repertoire continue to impress…. Making it sound easier than it is, Quilico’s performance …is coloristic and well-paced, justifying indeed the disc’s title Tapestries.” – Roger Knox, The WholeNote


“The young pianist and composer Heather Schmidt seduces the listener with her Piano Concerto No. 2; the work offers as much to the neophyte as to the specialist in contemporary music. The instrumentation is interesting throughout and the piano is brilliant in this sparkling work.” – Normand Babin, La Scena Musicale


“This is a CD worth having and listening to.” – Ed Farolan, Review Vancouver


“Christina Petrowska Quilico once again displays her virtuosic command of the piano with this live recording of the world premieres of two piano concertos.” – Patricia Debly, Brock University, in CAML Review (Canadian Association of Music Libraries, Archives and Documentation Centres)


Liszt Anniversary Collection (Welspringe WP011, 2011)

“Ottawa-born Christina Petrowska Quilico…has earned a reputation as an exceptional and innovative teacher and performer…. True to form, her playing is polished, self-assured, and technically flawless. But what I find most appealing about this recording is the wonderful variety achieved within the carefully chosen programme. Well-known favourites…are there, but also included are less familiar pieces, such as Wiegenlied, En reve, and Nuages gris. These smaller works dating from Liszt’s late period are quietly introspective, and stylistically point to the 20th century. Petrowska Quilico treats them with a wonderful delicacy, adeptly proving that Liszt is not all bravura and showmanship.” – Richard Haskell, The WholeNote


“Petrowska Quilico’s contribution to the Liszt bicentennial is as significant as any to have appeared on 2011. The musicianship on this CD is both idiomatic and fresh….More than any other pianist who comes readily to mind, Petrowska Quilico eschews surface brilliance to create an impression of uncompromising poignancy. …An unusually cantabile performance…Quilico plays it exquisitely…brilliance without ego.” – Raymond Tuttle, Fanfare Magazine


“For her appealing new release subtitled The Liszt Anniversary Collection, Canadian pianist Christina Petrowska Quilico has made a deeply personal selection of representative works. Petrowska Quilico has devoted significant energy throughout her career to the performance of contemporary Canadian composers. However, the unrushed interpretations, long musical line and, above all the beautiful sound at the instrument heard here point back to Petrowska Quilico’s early training at the Juilliard School under Irwin Freundlich, Rosina Lhevinne and Jeaneane Dowis. …Petrowska Quilico’s approach…is very much in the grand manner, occasionally recalling the sweep and brilliance of Egon Petri. Sensitive readings…round out this thoughtful, lovingly rendered recital.” – Patrick Rucker, Fanfare Magazine


Ann Southam: Glass Houses Revisited (Centrediscs CMCCD 16511, 2011), (one of Centrediscs’ all-time best-sellers; JUNO nominated)

“**** This is nothing short of miraculous. Toronto pianist Christina Petrowska Quilico elevates to poetry the complex musical loops created by Ann Southam. …That Petrowska Quilico can perform these nine pieces is an achievement in itself; that it makes for mesmerizing listening is the magic of art.” – John Terauds, Toronto Star


“**** Revisiting the late Ann Southam’s Glass Houses is like running into old friends…. It might seem that all this pattern music would start to sound the same, but Southam – who saw it as a metaphor for the repetitive nature of “women’s work” – made each of her (generally consonant) harmonic landscapes absolutely distinctive. Most are affably, gently intriguing; some are ebullient…. Pianist Christina Petrowska Quilico, who revised and edited Glass Houses with Southam’s endorsement, performs them with virtuoso precision, taking advantage of all the piano’s resources – warmth, resonance, pedalling, dynamics. Quilico’s interpretation is less brittle, less abstract than we might expect; it’s also more sensuous, as if those metaphorical women were getting more pleasure from their work.” – Elissa Poole, The Globe and Mail


“When meshed with the swirling ostinato figures the music has the trance magic of the very best minimalist works, yet utterly original, utterly Southam-esque. This is by no means easy music to play properly, in spite of the diatonics. Christina Petrowska Quilico gives them a combination of legato lyricism and a rhythmic swing that make of the music all it should be. Volume one covers nine of the ‘Glass Houses’ movements, each one a miniature of happy complexities and lyrical drive. Here is a wonderful place to start if you don’t know Ann Southam’s music. If you already do it is more for you, most dedicatedly performed and exciting as well as reassuring. RIP, Ann Southam. May your music delight our ears in the centuries ahead!” – Grego Applegate Edwards,


“The choices were made by the composer and the pianist, her longtime friend and fellow Canadian Christina Petrowska Quilico, who also helped to edit the music….Petrowska Quilico[’]s … playing…is a marvel: as is often the case with so-called Minimalist music, the writing is much more difficult to play than it seems to the casual listener. The coordination of the quicksilver rhythmic shifts requires intense concentration and much of the music is fast and relatively quiet at once, a great technical challenge that recalls the etudes of Chopin and Liszt. Quilico calls her “whirling dervishes” when playing the Glass Houses. She brings it off brilliantly, adding no little warmth as well.” – Peter Burwasser, Fanfare


“Southam, as she neared death in 2010, praised Petrowska Quilico for the way she performed these works: “They’re your pieces for sure.” I can’t disagree, based on what I am hearing here.”

Raymond Tuttle, Fanfare


“There is considerable subtlety in Petrowska Quilico’s performance: light and shade, changes in dynamic, even of tempo, and plenty of characterization – I am tempted to use that old cliche about the art that conceals art. Unlike most Minimalist music in which expressiveness is kept to a minimum, Petrowska Quilico goes for it, even though all but No. 13 are radiantly sunny. Not only are the pieces technically extremely difficult, but they could so easily die in unsympathetic hands. However, clearly, for all sorts of reasons – not least Petrowska Quilico’s pianistic skills – one cannot imagine this performance being bettered.” ­– Jeremy Marchant, Fanfare


“Enjoyable and easy to listen to, this is minimalist-inspired music that goes beyond that simple ‘moniker’. The music is excellently played. This is an attractive album that will interest fans of minimalism. A fine recording of minimalist-inspired piano pieces that combine motion and speed in a unique musical language.” – Kirk McElhearn, MusicWeb International


“I spent a pleasant hour listening to Glass Houses Revisited. Christina Petrowska Quilico plays the nine piano etudes she selected and edited by the late Ann Southam…..charming album…”

Stanley Fefferman, OpusOne


“***** La pianiste joue avec toute la sérénité, la joie de vivre et la précision attendues. Un bonheur…une excellente initiation pour ceux qui croient ne PAS aimer la musique contemporaine canadienne.” – Réjean Beaucage, La Scena Musicale
TRANSLATION : “The pianist plays with all the expected serenity, the joie de vivre and precision. A delight…an excellent initiation for those who believe they don’t like contemporary Canadian music.” – Réjean Beaucage, La Scena Musicale


3 Concerti (Piano concerti by Violet Archer, Larysa Kuzmenko and Alexina Louie – (Centrediscs CMCCD 15610, 2010), (Juno Nomination for the Kuzmenko Concerto)


“I review another of Quilico’s Centrediscs releases in this issue (Ann Southam’s Pond Life), and what I wrote there about her attention to tonal color also applies here. These three concertos also allow her to show off her pianistic muscles, however, and she has plenty to show off. Her playing is as tough and assertive as the repertoire. This is a fine addition to her discography, and I hope we will continue to hear much more from this pianist-in both familiar and unfamiliar repertoire-in coming years. Recommended!” – Raymond Tuttle, Fanfare Magazine


“Christina Petrowska Quilico plays all of this music with vivid brio, always finding a lucid textural balance with the orchestra. Her rock-steady rhythmic pulse and palpable enthusiasm seem to beg the listener to pay attention to the music, as if to say that none of this deserves obscurity.” – Peter Burwasser, Fanfare Magazine


“Pianist Christina Petrowska Quilico is the soloist on 3 Concerti, a disc which serves to remind us that there is a grand tradition of concerto writing in this country and begs the question – why are they so rarely played? Of the three, Louie’s is the most exotic…the work is a skilful and exuberant blending of East and West. Petrowska Quilico is in fine form with the National Arts Orchestra, under Alex Pauk….Kuzmenko is an unabashed Romantic whose model seems to be Rachmaninov, although here too I sense the influence of Bartok. The work is flamboyantly virtuosic and Petrowska Quilico takes full advantage of the opportunity to rise to the occasion. It is a well-crafted, dramatic work that would be well at home on any mainstream orchestral concert and, like others on this disc, deserves to be heard more often.” – David Olds, Whole Note/ Editors Corner


“4 stars….the concerto by Kuzmenko astonishes by her energy and her virtuosity. This live recording is of stunning quality and does justice to the composers and interpreters. This beautiful disc will please lovers of piano in search of new repertoire.” – La Scena Musicale


Pond Life (Centrediscs CMCCD 14109, 2009)


Southam’s Pond Life as compositional ecosystem

“Petrowska Quilico is sensitive to the delicate balance of Southam’s compositional ecosystem, playing with assured pacing and nuanced phrasing…. Pond Life is a recording that, while primarily gentle on the surface, is consistently attention-grabbing.” – Christian Carey, (


“Southam’s piano (like Satie’s)…does require a pianist who is exquisitely sensitive to sound per se, and that describes Christina Petrowska Quilico. I interviewed this pianist for Fanfare many years ago, was impressed with her work then, and continue to be so now. Her attention to tone color ensures that this music remains interesting and inviting, even when it operates within a rather narrow circumference. Her concentration never flags, and as a result, neither does ours. This pair of discs – recorded in a single day, unusually enough – boasts realistic and well-balanced sound.” – Raymond Tuttle, Fanfare Magazine


“Pond Life “Exquisite……”

“Take any 2 or 3 of the 20 short pieces and you’ll hear exquisiteness…Christina Petrowska Quilico has long been the dean of Canadian new music pianists and her mastery of Southam’s music here shows why.” – Richard Todd, the Ottawa Citizen


“Most of these works were written for Canadian pianist Christina Petrowska Quilico, who in 2005 recorded Southam’s Rivers, also on Centrediscs. Her virtuosic command of the keyboard brings these works to life. With theatrical flair she balances the fine gradations in pitch and rhythm to create subtle shifts in mood, from nostalgic contemplation to irrepressible joy.” – Pamela Margles, The WholeNote


“One can hear in this music the teeming life on both sides of the water’s surface. Tiny fish dart and hang and dart again, bugs skitter on the shining water skin that breaks when fish lips pop through to swallow a fly. In some pieces, there is the sense of the kind of silent liveliness that appears in a single drop of water put under a microscope. Miss Southam captures the textures of breezes and the flow of clouds across the waters, the sparkle of light and suffusion of shade.


“She achieves an effect of lyrical introspection using minimalist methods that allow the mind to relax into a sense of familiarity with material. Petrowska Quilico’s sensitive touch and grasp of the shifting tempi and rhythms surely guide the listener’s ear through the subtle changes. Anyone interested in living music from this country, or anyone open to being guided by music along a spiritual journey will enjoy this album.” – Stanley Fefferman, Showtime Magazine (


INGS (2-CD compilation, Welspringe WEL0008, 2008)


“This is one of the most fascinating selections of music I’ve ever come across. As a concert of fairly contemporary music, to be listened to in one sitting, it could hardly be bettered for the programme, the order of the pieces, with the lighter pieces at the end, make for a most satisfying whole. I imagine that all the tracks were recorded live because just occasionally you can hear the odd noise from an audience, but in general it is very quiet and attentive throughout.” – MusicWeb-International (


**** The Ings of Christina Petrowska Quilico’s double CD of contemporary music for piano refer to Henry Cowell’s wry set of pieces, Six Ings, but the recording at large calls up a plethora of ing-words: shimmering, for the scintillant patterns of Ann Southam’s Glass Houses; uncompromising, for Pierre Boulez’s modernist Premiere Sonate; dazzling, for the wonders of Art Tatum’s right hand, resuscitated in two arrangements; amusing, for Masamitsu Takahashi’s bluesy Asian fusion; and blistering, for Frederic Rzewski’s tough-husked, soft-centred Winnsboro Cotton Mill Blues. Amazing, too, for the amount of virtuosity and variety Petrowska Quilico has squeezed onto a mere two discs.” – Elissa Poole, Globe and Mail



Discoveries: recordings reviewed/The Editors Corner

“I’d like to say how impressed I was with the programming of this set. From its opening track, Ann Southam’s hypnotically beautiful Glass Houses, to the close almost two and half hours later with Omar Daniel’s Surfacing, the journey is a diverse, well-paced and extremely well-executed one that spans the work of fifteen 20th century composers, including four Canadians. One of the most exceptional aspects of this set is the fact that these exciting and seemingly flawless performances were all recorded live. … All in all this is a compelling and eclectic journey through the annals of 20th century composition.”

– David Olds, The WholeNote


“Anyone wanting to study influences and trends could do no better than to begin with these polished and sensitive performances. … Madame Petrowska-Quilico, an accomplished artist, is a reliable guide to this repertoire, which she has made her own. Her pianism is stylish, her technique well-honed, and the sound firm and bright. The interpretive qualities are on the same impressive level: not shy of plunging into difficulty, the artist does so with a confident sureness of touch.

“These pieces, so diverse in origin, are brought vividly to life, and each given loving treatment. The musicality is deft and knowing, and the intelligence informing the performances generous and warm. This is an album for the Ipod or MP3 player of anyone interested in the contemporary piano repertoire — it’s already been transferred to mine.” – J H Stape,


“What is perhaps the most markedly impressive aspect of this collection is the fantastic energy that Petrowska Quilico brings to even the most distant musical extreme without compromising her technique. The dynamic range of sensitivity and boldness that she brings to every piece on this album is truly remarkable. This is a terrific example of the human energy that is at the core of all music, and that is often lost in the face of extended techniques, new notations, and philosophical abstractions.”

Michael Berger, Stanford University, in CAML Review (Canadian Association of Music Libraries, Archives and Documentation Centres)


David Mott: Eclipse (Centrediscs CMCCD 12707, 2007)


“The title track is a piano concerto written for Christina Petrowska Quilico and scored for a very unusual ensemble: percussion, double bass, synthesizer, soprano, tenor and baritone saxophones, tabla, dizi, accordion, oud, and the voice of Suba Sankaran. …The three movement work takes us on a journey through the vast terrains of Mott’s global interests: music from China, Africa, Indonesia and India, with ample portions of jazz and Western contemporary classical music…. A well-integrated half-hour tour of Mott’s musical psyche. I was particularly intrigued with the way that, late in the third movement, Mott evoked the spirit of McCoy Tyner in the midst of memories of Taiko drumming, tabla riffing, melodic vocalize and suling-like flute lines and how Christina Petrowska Quilico made it all work. …

“The final piece, Dark Masque Masks, was written for Christina Petrowska Quilico and takes her “somewhat gothic pen and ink drawings” as its inspiration. It is a testament to Petrowska’s artistry that she is able to capture all of these diverse styles in an utterly convincing manner.”

– David Olds, The Wholenote


Eclipse is described as a piano concerto. However, the piano is so closely tied to the ensemble that it doesn’t really feel like one. Also, the music’s non-Western influences make it sound like…well, jazzy Lou Harrison…. varied and innovative enough to make it a trip worth taking…. Dark Masque, dedicated to Petrowska Quilico, was inspired by her drawings of theatrical masks. The pianist plays it with gothic intensity and concentration.” – Raymond Tuttle, Fanfare


Canadian Composers Portraits: Ann Southam – Rivers (Centrediscs CMCCD 10505, 2005)


“I didn’t think anyone would play this piece. But when Christina performed it, I loved the sound and what was happening as the hands interacted. And I loved the little tunes and motifs that could be heard in the interaction between the hands. It takes a whiz-bang pianist to make those heard. I don’t know how she does it!” – Ann Southam, composer


“Toronto virtuosa Christina Petrowska Quilico becomes the first pianist to perform Ann Southam’s Rivers cycle in its entirety tonight. The 19 solo piano pieces, written from 1979-1981, last a total of two hours, and demand extraordinary physical stamina from the player. Petrowska, whose recording of the cycle has just been released on the Centrediscs label, has the monster technique to pull it off. Built on intricately and unpredictably interlocking melodic patterns, the pieces carry the listener into shimmering, at times ecstatic, realms.” – Tamara Bernstein, the National Post


“This music is intelligently absorbing, though not in the manner of a Beethoven sonata. It is pleasurable, though some will feel that each piece is too long. Listening to it is something like listening to Bach, where the beauty is in the piece and the execution, not in the performer’s creative thought processes. The performer must simply execute in a very skillful and highly aesthetic way, what the composer wrote. Kudos to Christina Petrowska Quilico, piano professor at York University in Toronto, for doing exactly that.” – Kilpatrick, American Record Guide


“Rating: 9 out of 10.” – Jerry Bowles, Sequenza21


Discs of the Month

“Christina Petrowska Quilico gives an outstanding performance of these intricate minimalist works that range from contemplative to ebullient.” – David Olds, The WholeNote


16 Portraits: Michel-Georges Brégent (Centrediscs CMCCD 10805, 2005)

“Composer Michel-Georges Bregent aptly described these works as études romantiques. Although they make fearsome demands on the pianist, they are not etudes in the sense that they develop any particular technical skill…instead, they seem to be ‘studies’ in the emotional or intellectual sense…Bregent’s overall style, which might be described as heavy-metal Rachmaninoff, holds one’s attention. If you have any doubts, apparently [an] eminent pianist has expressed interest in Brégent’s music. However, Christina Petrowska Quilico got there first. I don’t think she is likely to be outdone.” – Raymond Tuttle, Fanfare


«Une véritable révélation! J’ai parcouru ces 16 portraits sous les doigts de Christina Petrowska Quilico comme on tourne les pages d’un journal intime: avec respect et avec émotion. Et quand c’est fini, on a le goût de recommencer.» – SRC: Espace Musique


TRANSLATION: “A veritable revelation! I went through these 16 portraits under the fingers of Christina Petrowska Quilico as one turns the pages of an intimate journal: with respect and with emotion. And when it was finished, one felt like beginning all over again.” – SRC: Espace Musique


“Performed here with great sensitivity by his former wife, the 16 Portraits are a welcome addition to the repertoire. While they clearly owe a debt to Rachmaninoff, Brégent was an original voice who died too young.” – Sequenza21


“Petrowska Quilico, who was his wife, brings many personal insights to her performance. It is obviously a labour of love, and one which we are thankful she has undertaken.” – David Olds, The WholeNote


“The most striking thing about these sixteen piano pieces, aside from the skill with which Quilico performs them, is how Romantic they seem…. 16 Portraits is an excellent performance of some highly listenable and intriguing work.” – Splendid Magazine


Gems with an Edge (Welspring, 2003)


“Petrowska Quilico is well known in Canada but not in this country, and I hope these two releases will help to remedy the discrepancy. She’s an excellent musician, technically skillful and interpretively sound. She knows her way through the thorny thickets of Messiaen, Boulez, and the other contemporary composers, delivering their strange rhythms and discords effectively. I’m particularly taken by hearing the eerie sounds of the Boulez sonata again.” – American Record Guide


“One of Canada’s most loyal interpreters of contemporary keyboard music…” – William Littler, Toronto Star


“Petrowska Quilico creates poignant, shimmering textures out of Boulez’s abstract fragmented structures.” – Pamela Margles, The WholeNote Magazine


These Gems Sparkle Brilliantly

“The collection and re-issue of Christina Petrowska Quilico’s CBC recordings of the ’70s is a cause for celebration. For connoisseur or neophyte alike, these works provide a wonderful overview of five composers whose styles are as different as their backgrounds. The glue that holds this remarkable set together is Petrowska Quilico’s unerring artistry and formidable skill.” –




Romantic Gems (Welspringe 2002)


Delightful Collection a Must Have    

“Christina Petrowska Quilico has done music lovers a great service by recording this fascinating collection of twenty-nine ‘Romantic Gems’, choosing from the neglected works of well-known and little appreciated composers from Franz Liszt to Cyril Scott.

“Petrowska’s formidable technique and musical imagination meant that any faults in the performances could almost exclusively be found in the dusty scores that she so lovingly brought to life.

“Not surprisingly (given the pianist’s well-known affinity for dance), it was her saucy reading of Alberto Guerrero’s Tango that stood out in the early tracks and had me wanting to roll back the carpet and find a rose.

“But that is the joy of this wonderful CD: the tried and true with seldom heard, all vying to capture your attention and interest. Why not pick up a copy and have your own fun? Slip it into your player on random and have your guests play name that composer!” – James Wegg,


“The music on this disc is like a refreshing spring breeze through an open window. Petrowska Quilico plays with an enviable grace and ease, making the most difficult of the works seem effortless…. Petrowska Quilico’s pianistic skill is nicely complemented by the benign sound of CBC’s Glenn Gould Studio and one of its Steinway D-274’s…. This disc brings much enjoyment and would be an excellent choice for a gift.” – John S. Gray, The WholeNote Vol. 8, # 2


Vocal Gems – Live from New York: Louis Quilico, baritone; Christina Petrowska Quilico, piano (Welspringe WEL0006, 2002)


“This CD was recorded in 1998 by Canada’s most famous musical couple, during a recital performed at Merkin Hall, New York City…The tenderness between singer and pianist shines through beautifully…The recital ends with passionate Italian repertoire, songs by Tosti and Renato’s Eri tu from Verdi’s ‘Ballo in Maschera’. For those of us who miss this man’s exquisite voice, this CD provides a most welcome legacy. Proceeds from the recording will go to the Christina and Louis Quilico Fund at the Ontario Arts Council to help young singer and pianists.” – Dianne Wells, Wholenote Magazine


“Petrowska Quilico offers sympathetic support at the piano … a worthwhile souvenir of a beloved artist.”

Joseph So, Opera Canada


Chris Paul Harman (Centrediscs CMCCD 7201, 2001)


“Globus Hystericus (1992) is wonderfully played by Christina Petrowska Quilico.” – John S. Gray, WholeNote Magazine


Northern Sirens (York Fine Arts, YFA 00999, 1998)


“Canadian pianist Christina Petrowska Quilico plays the music of her countrywomen with style, express, and understanding. She has a remarkably luminous tone that draws the listener to the music in a way that not many pianists can manage.” – American Record Guide


«La pianiste nage là-dedans avec un aisance suprème, en fait, est terriblement ardu à réussir. La qualité d’inspiration de la compositrice insuffle une précision et un amour à l’interprète que la prise de son rend très bien; insistez pour vous le procurer.» – François Tousignant, Le Devoir


TRANSLATION: “The pianist swims in it with supreme ease, in fact (it) is terribly difficult to succeed. The quality of the composer’s inspiration instills a precision and a love to the performer that the recording captures well; insist on getting it for yourself.” – François Tousignant, Le Devoir


“The music on this disc is both poetic and intriguing, and in the hands of such a lucid and sympathetic exponent as Christiana Petrowska (her performances are models of clarity), these scores become quite accessible.” – Richard Perry, The Ottawa Citizen


New Canadian music – with some bite to it!

“The unifying element here is that they are all short piano pieces written by Canadian women composers and all played with easy expertise by Christina Petrowska. … Alexina Louie’s ‘Music for Piano’, a five-piece suite, strikes a wonderful balance between an impressionistic, romantic quality and a muscular insistence in the melodies that does credit to Petrowska’s command of touch. These are all pieces written by and for top-notch pianists, and take full advantage of the vast range of possibilities offered by the instrument.” – Naomi Lester, Monday Magazine (Victoria BC)


“Christina Petrowska Quilico…exhibits enormous strength, stamina and an amazingly crisp, clean articulation.” – Art Lange, Fanfare Magazine, reviewing Mystic Streams


“She has a remarkably luminous tone that draws the listener to the music in a way that not many pianists can manage.” – American Record Guide, reviewing Northern Sirens


Debussy (Welspringe WELCD003-98, 1998)


“Christina Petrowska is an established soloist on the Canadian scene with a special interest in contemporary keyboard music…But as more recent albums suggest, her interest stretches back into the traditional keyboard repertory as well. A new Debussy album finds her fingers making their way nimbly through 17 of the French composer’s best-known short pieces, while this contemporaneous disc finds them performing a similar service for 15 pieces by Chopin and Liszt.” – William Littler, Toronto Star


Chopin & Liszt (Welspringe WELCD003-98, 1998)


“She is a strong and capable pianist as well as a thoughtful musician. She has a fine finger technique and a good feeling for balances, as is evident in the most challenging of these pieces.” – Charles Timbrell, Fanfare Magazine


Chants Français et Russes: Louis Quilico, baritone; Christina Petrowska Quilico, piano (Welspringe WELCD002-98, 1998)

“Well-known for her career as a solo artist, Petrowska Quilico blends the virtuosity of a concert pianist with the sensitive ear of a masterful accompanist. Some of these works are fiendishly difficult to play, but she carries them off with aplomb.” – Opera Canada


Mystic Streams (Welspringe 1996)

“Christina Petrowska Quilico is a marvelous pianist…..she has her own ideas and is not willing to adopt accepted interpretive practices by rote. Petrowska Quilico exhibits enormous strength, stamina and an amazingly crisp, clean articulation. I admire her advocacy of unknown composers.” – Art Lange, Fanfare Magazine, reviewing Mystic Streams


«  Un formidable disque de piano … une superbe Rhapsodie sur un thème de Brahms, semi-romantique, de Peter Paul Koprowski ». – David LeMarrec, Diare sur sol


TRANSLATION: “A formidable piano disc… a superb, semi-romantic Rhapsody on a Theme of Brahms, by Peter Paul Koprowski.” David LeMarrec, Diare sur sol

Including :

Ann Southam: Rivers, Book 3: No.8 – I  « Un mouvement perpétuel fascinant, imitant explicitement les flux cycliques de l’eau vive. Quoique pas du tout friand de minimalisme, il est difficile de ne pas se sentir emporté. »


TRANSLATION: “A fascinating perpetual movement, imitating exactly the cyclical flux of flowing water. Although (I am) not fond of minimalism, it is difficult not to feel carried off.”


Frederic Rzewski: The Turtle and the Crane – « …les ostinati furibonds, sur une seule note ou de petits groupes, et sur de longues périodes, exaltent un minimalisme beaucoup plus formel qu’évocateur, évoquant davantage les expériences extrêmes de Terry Riley. Très différent de la versatilité extrême de son célèbre et monumental cycle de variations sur El pueblo unido jamás será vencido. »


TRANSLATION: “…the angry ostinati on a single note or small groups, and on long periods, elevate a minimalism much more formal than evocative, further evoking the extreme experiences of Terry Riley. Very different from the extrmed versatility of his celebrated and monumental cycle of variations on El pueblo unido jamás será vencido (The People United will never be defeated).


“Christina Petrowska Quilico…exhibits enormous strength, stamina and an amazingly crisp, clean articulation.” – Art Lange, Fanfare Magazine, reviewing Mystic Streams


Two Of A Kind: Louis Quilico, baritone; Christina Petrowska Quilico, piano (York Fine Arts YFA 001 95, 1995)


“Petrowska Quilico tosses off a couple of Liszt operatic concert paraphrases on themes from Rigoletto and Lucia de Lammermoor – with impressive flair and accompanies her spouse sympathetically”

William Littler. The Toronto Star


“Petrowska Quilico plays with brio, particularly in the Liszt concert paraphrases from Rigoletto and Lucia di Lammermoor.” – Opera Canada


Contemporary Piano Concerti (CBC Records SMCD5141, 1995), (JUNO nominated)


“Anyone who developed a taste for the music of Winnipeg’s Glenn Buhr can be pointed in the direction of this new CBC album, in which the Winnipeg Symphony Orchestra plays its composer-in-residence’s Piano Concerto with Toronto’s Christina Petrowska Quilico, as fleet-fingered soloist.” – William Littler, Toronto Star


“Brilliantly performed.” – American Record Guide


Virtuoso Piano Music Of Our Own Time (HLH Lasersound JLH 1002 DDD, 1992)


“She’s not kidding. This selection of tough numbers from the present day covers an extremely wide range, from Olivier Messiaen to Art Tatum. Petrowska Quilico’s catholic approach makes for some intriguing juxtapositions and highlights music that might be overlooked. Three pieces show how much strong music is being written by women. Petrowska Quilico turns in several equally strong performances.” – Robert Everett Green, The Globe & Mail


“The playing as usual with Petrowska Quilico, peddles brilliance with a capital B.” – William Littler, Toronto Star


Catbird Seat (Canadian Electronic Ensemble & Guests, Trappist TRAP 9003, 1990)


“Quivi Sospiri finds Christina Petrowska (an outstanding Canadian pianist who also appeared on Joseph Petric’s Gems CD), once again setting the high standard for artistic excellence. Her interpretation and sensitivity on this track, as well as her interaction with the electronic music and the computer are remarkable … She is a truly gifted pianist.” – The Classical Free-Reed


Gems (Conaccord Records 490491-3, 1989)


“Pianist Christina Petrowska’s performance is stunning.” – The Classical Free-Reed


Debussy & Messiaen CBC1983


“The playing here is far more sensitive and responsive than anything I have heard…and reminds one why she was considered one of the finest pianists Canada ever produced in the 1970’s. The recording is excellent and I recommend this album without reservation.” – Jacob Siskind, The Ottawa Citizen


“Although both Debussy’s Preludes and Messiaen’s Vingt Regards sur l’enfant Jesus have been recorded before, the Ottawa-born pianist’s performance of the Messiaen represents a considerable achievement.”

William Littler, The Toronto Star


“Petrowska gives a lovely shape to the beautiful and enigmatically titled ‘La terrasse des audiences au clair de lune,’ handles the toccata-like ‘Les tierces alternées’ with supreme agility and revels in a technical tour de force with the closing ‘Feux d’artifice’. The Messiaen work, a mammoth fresco…each piece is as broad as a gothic cathedral, but Petrowska takes hold of the challenge with much skill and authority. These are powerful performances; she clearly identifies strongly with this music. As a sampler of two large-scale works from 20th century France it would be hard to beat.” – Rick MacMillan, Music Magazine


Selected Review Quotes from Live Performances

“A promethean talent”

“An extraordinary talent with phenomenal ability…dazzling virtuosity”
– The New York Times

“An astonishing pianist.”
– The Toronto Star

“Dynamic…Dramatic…Profiled expressiveness.”
– Los Angeles Times


“Christina Petrowska…played Messiaen to perfection in the recital she gave at Carnegie Recital Hall. Her introspective approach to them resulted in interpretations filled with the shifting colors and moods that express Messiaen’s personal mysticism. In the three Debussy Preludes that concluded the program, Miss Petrowska was once again in a realm of exquisitely controlled sonorities – different from but not alien to Messiaen’s – that brought out the best in her. For an encore, she played Liszt’s ‘La Campanella’ and did it with beautiful clarity.

“Miss Petrowska is a pianist and musician of refreshingly unconventional taste and ability, and for those ready to appreciate her, she was a welcome treat.” – Allen Hughes, the New York Times


“Ten fingers that sound like 20…a student of Rosina Lhévinne, Miss Petrowska reveals her heritage promptly in the crystalline finger technique, the clean, crisp styling, the vibrant tone color and trills that border on the phenomenal.” – Herald Tribune, Paris, France


“Miss Petrowska, an excellent pianist, held the audience transfixed with Chou Wen-chung’s work. Miss Petrowska was coolness itself in getting the hardware into the piano and out again…in Messiaen, a feeling for the music’s reverent sobriety combined to produce an absorbing performance.”

Donal Henahan, the New York Times


Fine Piano Recital by Miss Petrowska

“Christina Petrowska, the Canadian pianist who specializes in 20th century music, came to Alice Tully Hall to play Book Two of Debussy’s Preludes and works composed by Stockhausen, Boulez, Gilles Tremblay, Valentin Silvestrov and her husband, Michel-Georges Bregent. Since her debut here 11 years ago, Miss Petrowska has proved several times over that she is a pianist and musician of more than ordinary attainments. Thus, it came as no surprise that she played everything from Debussy to Bregent with care and perspicacity.” – Allen Hughes, the New York Times


“Students of the music department of the School of Performing Arts were soloists yesterday at Town Hall with an orchestra directed by Julius Grossman…Two pianists were heard: Christina Petrowska in Mozart’s Concerto in A (K. 488) and Murray Perahia in Beethoven’s Concerto No. 2 in B flat. The youngsters showed Promethean gifts in their imaginative solo work, and the capacity audience was enthusiastically appreciative.” – Howard Klein, the New York Times


“Christina Petrowska Quilico is the astonishing pianist and published poet and exhibited artist who is particularly gifted as an interpreter of the language of the moderns like Stockhausen and Messiaen, and who can control the Niagara of sound in a great Chopin Polonaise.” – William Littler, Toronto Star


“Her ability to weave webs of poetic pianism is intoxicating. There is color in every note, a brilliant performance.” – Edmonton Journal


Petrowska Plays Avant-Garde Piano

“There was a Canadian connection about the second Monday Evening Concert of the season at the Bing Theater of the County Museum of Arts. Its focus was Canadian-born Christina Petrowska, a pianist with a special knack for the avant-garde. Rarely does one hear its repertory presented with such dynamic flexibility, dramatic flair and profiled expressiveness. A particularly fine demonstration of these qualities came with Miss Petrowska’s performance of ‘Affetuoso’ by Luis de Pablo. She played it with the sweep one would expect in pieces by Schumann, which, incidentally, Pablo’s series of vignettes resembled at times. … There was also a piano piece by a female composer from Montreal with the colorful name of Micheline Coulombe-Saint-Marcoux. Her “Assemblages” harked back at times to French Impressionism, in particular to Debussy’s ‘Feux d’Artifice’, which should give an idea of the type of bravura involved. For warming up, Miss Petrowska had chosen ‘Trope’, the second ‘formant’ of the Piano Sonata No. 3 by Boulez. This, too, was given remarkable treatment.” – Los Angeles Times


Piano Ecstasy – Soundstreams Concert featuring 8 pianists on 6 pianos (Shostakovich: Concertino for Two Pianos)


“The Cage was followed by the Shostakovich brilliantly performed by two of the great pianists of our time, the Gryphon Trio’s Jamie Parker and the wonderful Christina Petrowska Quilico, still as devoted to new music as ever.” – Robert Harris, The Globe and Mail


“Parker and Petrowska Quilico delivered its brightly coloured singing lines with zest, alternating melodic treble and rumbling clef parts, tentative, then dancing into the manic, goofy, dissonant zone of Shostakovich’s signature ‘run as fast as you can, you can’t catch me I’m the ginger-bread man,’ flights that also made me laugh.” – Stanley Fefferman, OpusOneReview


Visions: Rhapsodies & Fantasias – Concert launching Centrediscs CDs of the piano music of Constantine Caravassilis


“Quilico’s playing was superb throughout the evening, encouraging the audience to demand an encore at the end of Shadow Variations and again at the conclusion of the concert. She embraced each of the influences Caravassilis projected in his scores with evident ease, displaying sheer pianistic virtuosity.” –

Justin Rito, I Care if you Listen


« Les doigts de la pianiste se promènent délicatement sur l’ébène et l’ivoire du Steinway avant de laisser l’ombre en question grandir, lentement mais sûrement, jusqu’à engloutir la salle entière. Servie par une technique irréprochable, la première partie se clôt sur les applaudissements nourris du public…. Une réussite totale. » – Benoît Gheeraert, Le Métropolitain


Rivers – Toronto Dance Theatre`s world premiere of dance work by Christopher House, to excerpts from Ann Southam`s Rivers, played live by Petrowska Quilico.


The presence of internationally acclaimed pianist Christina Petrowska Quilico…was a breathtaking addition to the visual and aural feast. With a powerful yet demure grace she took her position stage left with an intense aesthetic authority and flawless skill, both dividing and merging the viewer’s attention to the panoply of detail that both electrified and haunted the stage as bodies moved with close attention to a score that House feels demands that artists must ‘be very present in the moment.’ Petrowska Quilico’s black gown was a dazzling touch that bespoke the simple glamour of a skilled musician immersed in the timelessness of great art and artfulness as she masterfully followed the multiple pages distributed like over-sized maps above her hands.” David Bateman, Bateman Reviews


“Under her fingers, the keys are like a riverbed, and the rhythm of her playing is like the tide’s ebb and flow. In the same way that water erodes stones, the same way dancers’ soles strike the stage, Christina Petrowska Quilico’s fingers strike her piano……Quilico’s commitment to the performance has inspired the dancers as well…”Her work on the piano influences us to take the choreography to another level…Her inspiring technical ability, along with her relentless work ethic, encourages the dancers to do the same- but with movement.” – Here Magazine, Fredericton NB


“Christina’s presence is integral to the work. You see her hands the whole time. As well, the live accompaniment affects the dancers’ ability to be invested in the moment…Christina is such an extraordinary artist. When she came to play, the dancers were practically in tears.” – Christopher House, choreographer.


In Memoriam: To the Victims of Chernobyl by Larysa Kuzmenko and Glass Houses No. 12 by Ann Southam at Concert of Women Composers, presented by the Association of Canadian Women Composers


“Quilico delivered a powerful performance of this atmospheric and complex piece, making the most of its programmatic aspects. She reappeared at the end of the concert to play a work by the only composer posthumously represented, Ann Southam, whose mesmerizing jazzy twelfth piece in her famous

Glass Houses series proved to be an impressive feat of endurance and concentration.”

– Dorothy De Val, Bulletin of the Heliconian Club, reprinted in the e-Bulletin of the Association of Canadian Women Composers, Spring/Summer 2014


Canadian Pianist and Composer Pull Us Under, Happily So (CD Launch of Ann Southam’s Pond Life, May 2009)


“If the essence of poetry is controlled repetition and variation, then last night’s performance by Toronto pianist Christina Petrowska Quilico at the Glenn Gould Studio was musical poetry at its finest. Quilico has made a career of championing the work of Canadian creators. Veteran composer Ann Southam couldn’t hope for a finer advocate as the pianist laid out her 90-plus-minute suite Pond Life: Ponds, Creeks and a Noisy River with elegance and clarity. … It was a truly magical experience.”

– John Terauds, Toronto Star


Excerpted from Sound Mind: A Classical Music Blog


“Last night’s performance of Ann Southam’s Pond Life by Christina Petrowska Quilico at the Glenn Gould Studio reminded me of the beauty of simplicity. It also reminded me that, although frequently not as friendly on the surface as the canonical classics, new “serious” music can be beautiful as well as potent.

“Quite frankly, I’ve heard a lot of new music that’s made me grind my teeth. I begin to think that the emperor of serious new music has no clothes. Then I go to hear a fine pianist perform a fine new work, and, suddenly, the emperor is standing before me in a shimmering robe. I am forced to bow and acknowledge the splendour of it all.


“But that wasn’t the true source of my pleasure last night. What really got me high was how simple brush strokes can define a great canvas; how seemingly simple and meaningless patterns of notes can, with repetition at the hands of a careful and disciplined interpreter and with a receptive ear, add up to a powerful aesthetic experience.” – John Terauds, Toronto Star


Christina Petrowska Quilico, Pianist (Opening of Recital Hall at York University, 2006)


“The evening ended with the world premiere of Eclipse, a concerto for piano, 10 instruments and voice by York alumnus David Mott. Written in three movements that weave into each other, and conducted by professor Mark Chambers, Eclipse was a showcase for the considerable talents of Christina Petrowska Quilico at the piano…There was a buzz of anticipation in the scarlet-painted lobby before the gala began, and there were even wider smiles afterward.” – John Terauds, Toronto Star


Rivers by Ann Southam: (CD Launch Concert – May 2005)


Going with the flow

“Ann Southam… made a big splash on Tuesday night at Toronto’s Music Gallery, thanks to pianist Christina Petrowska Quilico, who dove into the first complete performance of Southam’s Rivers with rare intensity and commitment. Rivers was in the right hands. Petrowska Quilico knows this music – all million-or-so notes of it – backwards and forwards: She’s recorded the whole thing for a set of CDs co-produced by the CBC and the Canadian Music Centre, recently released on the Centrediscs label. More important, she knows how to draw forth all of the colour and expression that Southam has put in her score.” – Colin Eatock, Globe and Mail


“I like Christina Petrowska Quilico’s “go big or go home” attitude to the piano recital, and was particularly happy to hear that she is performing Ann Southam’s complete Rivers cycle at the Music Gallery…. Petrowska did an exceptionally beautiful job of the slow pieces, casting a spell with her quiet, bell-like sound. I also liked the strong, confident flow she gave not just to the fast pieces, but also the slow fast ones.

“Quilico arranged them in groups that provided contrasts of tempos. But during the last piece one felt, not a heroic sense of arrival or a sense of triumph over adversity, as one would in a traditional symphony, but a sense of peace in the journey itself. Although this last piece – the final one of the cycle, in fact – was the longest, I kept hoping it would never end.” –Tamara Bernstein, National Post


Pierre Boulez Honoured For Contemporary Composition (Glenn Gould Prize, 2002)

“Toronto pianist Christina Petrowska Quilico opened the program with the Piano Sonata No. 1 (1946) …Highly cerebral and calling for a huge variety of articulations from the pianist (which Petrowska Quilico certainly supplied), the sonata also exploded with colour and energy.” – William Littler, Toronto Star


Larysa Kuzmenko Concerto:

“…classically virtuoso performance by soloist Christina Petrowska Quilico. Kuzmenko returned to the grandiose gestures of the romantic piano concerto.” – Elissa Poole, Globe and Mail


“…broad, sweeping gestures and strong melodic profile of a concerto in the romantic tradition. With the considerable help of its soloist, the nimble-fingered Christina Petrowska Quilico, it was the undoubted hit of the evening.”   – William Littler, Toronto Star


Alexina Louie Concerto:

“That able champion of the contemporary keyboard literature, Christina Petrowska Quilico, applied the proverbial hammer and tongs to a piano part full of cluster chords, glissandos and runs, surrounded by enough orchestral goings-on in rapidly changing metres to keep conductor Alex Pauk working overtime…. The concerto in its deliberately big-boned, splashily and often exotically (complete with lion’s roar and Chinese gongs) scored…it has life, color and drama enough to keep the ear wondering what is going to happen next.” – William Littler, Toronto Star


“The pianist, Christina Petrowska Quilico, gave a committed reading of the virtuoso solo part, which makes some fairly athletic demands of the performer.” – Robert Everett-Green, Globe and Mail


Ligeti Etudes

“Petrowska closed her collection (etudes) with the sparkling toccata.., her flying fingers did complete justice to the technical demands of the music, but even more exhilarating was the way every moment sang and danced in her inspired performance of the Etudes.” – The National Post


“Christina Petrowska Quilico played one of Liszt’s idiomatic piano transcriptions, “Rigoletto. Paraphrase de Concert”. Petrowska Quilico cast a melodic spell. Her crisp technique and assured vitality swept us through to the bravura climax of the music.” – The Tribune/Welland


Contemporary piano music premiered

“One of the most interesting and complex of the day’s musical events was the recital of contemporary piano music given by York University Music professor Christina Petrowska at the Glenn Gould Theatre. Petrowska’s program was absolutely uncompromising in its technical and musical demands. Petrowska has a special gift for contemporary music and well deserves her international reputation as one of its foremost interpreters.” – The Toronto Star


Varied viva virtuosi…

“The program began with a slap-bang performance by the amazing pianist Christina Petrowska of the 1979 Winnsboro Cotton Mill Blues by the American composer Frederick Rzewski. This is action music in spades, blending mechanical sounds with a whiff of Gershwin and a lacing of jazz.” – The Toronto Star


Minimalist Music, Marvellous Effect

“Violinist Marie Bérard and pianist Christina Petrowska’s performance of Part’s Fratres was the most assured collaboration of the evening. Petrowska, meanwhile, outdid herself in her exhilarating performances of Southam’s Rivers No. 8 and Glass Houses. Petrowska, who appears to have tendons of steel, held the listener suspended in an eternal, shimmering present. I especially loved the way Glass Houses reached a “white-hot” stage, where the right hand seemed to be “speaking” in an unknown, joyous tongue.” – Tamara Bernstein, Globe and Mail, 1993


Piano recital a delight

“Christina Petrowska chose to emphasize the coloristic range the piano is capable of producing in a sensitive and meticulously-executed recital at last night’s WSO New Music Festival offering. Petrowska had an absolutely clear way with the music in the comfortable sorting out of the many fearsome technical demands.” – Winnipeg Free Press


“Often, New Music is better composed than played. This was never the case with Petrowska, an extraordinary pianist. Hers was the most tightly focused and consistent night of the festival. It must be tempting for someone with level of skill simply to coast on flash – to master the pieces technically and leave it at that. Instead, that’s where Petrowska starts, moving from technical mastery (mystery) to explore the emotional life of each work with great determination and joy.” – Border Crossings


Something for everyone in recital

“For all her dedication to new music Petrowska is even more committed to quality, both in her playing and her programming…there was something for everyone, and it’s hard to imagine a music lover of normal sensitivity who would not have found the recital exciting.” – The Ottawa Citizen

Female composers

“Christina Petrowska Quilico brought her intuitive mastery of the keyboard to bear with great success in a performance of Alexina Louie’s Star-Filled Night, a shifting turbulence of sound reflected an excited auditory imagination. Barbara Heller, whose Anschluesse, splendidly played by Christina Petrowska Quilico displayed a consistent and even thoughtful idiom, full of agreeable sonorities, and featuring almost Chopinesque figurations as a linking device between sections.” – The Toronto Star


One Tough Program

“Petrowska is a formidable musician with a national following on both new-music and more mainstream concert circuits. Petrowska’s choice of works spanned a wide field, from Frederic Chopin to Frederick Rzewski, from Olivier Messiaen to Art Tatum. The connecting thread lay in the readiness of each composer to tax the player’s technique to the utmost, without sacrificing serious musical purpose. In other words, it was one tough program. Petrowska had to be admired for her guts, as well as her fingers, as she tore through one note-clotted score after another…she seemed to put the manual engineering quite out of mind, and filled the music with impetuous energy.” – Robert Everett-Green, Globe and Mail


Canadian Pianist Evokes Varied Modern Influences

“Christina Petrowska, a Canadian pianist, presented a program of contemporary music at Merkin Concert Hall. It was an evening full of worthy composers. Each half of the program ended with a score that evoked Minimalism. Frederic Rzewski’s Winnsboro Cotton Mill Blues began with thundering forearm clusters and roaring blasts of sound, then mutated into Mr. Rzewski’s typically witty play on vernacular influences. The concert began with the deliciously titled Six Ings of Henry Cowell, gracious music by a composer well worth serious revival…” – John Rockwell, New York Times


Viola and Piano…Neal Gripp and Petrowska Quilico

“Christina Petrowska’s participation displayed some of the most committed, most polished and most musical playing I have heard…” – The Ottawa Citizen, Jacob Siskind


Pianist transmits deep feeling

“Christina Petrowska has earned herself the enviable reputation of being Canada’s leading interpreter of contemporary piano music. She offered a recital of U.S. piano works…At her best, this enterprising pianist communicates her deep feeling for the music she performs. This particular passage was delivered with an intensity and sensitivity that raised the entire recital far beyond the ordinary.” – Ottawa Citizen


“Some pianists simply play their music and hope someone will listen. Canadian pianist Christina Petrowska, who has a reputation for wringing every ounce of excitement out of the 20th century in which she specializes, plays her music and pretty much demands that you listen…the Debussy was fluently expressed and the Gershwin rhythmical and articulate.” – The Montreal Gazette


150e concert de la SMCQ, Petrowska, remarquable

«N’eut-été de la remarquable présentation de la merveilleuse pianiste canadienne Christina Petrowska. Mais est-il vraiment nécessiare de détailer les oeuvres quand l’interprétation nous donne le sentiment qu’elles ont été magnifiquement servies. Il faut ranger Christina Petrowska parmis les interprètes de grand talent qui possèdent ce qu’il faut d’intelligence, d’imagination, de sensibilité et de maîtrise de l’instrument pour nous faire aimer la musique qu’ils jouent.» – Le Devoir


«La virtuosité pianistique de Christina Petrowska (le mot “virtuosité” étant pris ici dans son sens la plus noble)… La concerto de Luis de Pablo…ici encore, supreme virtuosité de Christina – mais aussi musicalité.» – Claude Gingras, La Presse Montreal


«l’éblouissante participation de la jeune pianist canadienne Christina Petrowska qui avait s’acquitter de la tache difficile de jouer deux oeuvres difficiles de l’Espagnol Luis de Pablo. Toute musique que touche cette remarquable pianiste, peu importe ses exigences techniques ou l’hermetisme de son langague, prend sous ses doigts une forme et un relief exceptionnels. Dans son concerto, Luis de Pablo connaissant les dons de son interprète qu’il qualifie avec raison de ‘merveilleuse pianiste’ a multiple comme à plaisir les difficultés de toutes sortes, dont une imposante cadence centrale, se doutant bien que pour Mme Petrowska, il n’y a rien d’impossible. Il en est resulte que son oeuvre s’impose d’abord comme un véhicule pour virtuose dont la partie soliste.» – Le Devoir


“The real highlight of the evening, to my mind, was a performance by an outstanding Canadian pianist by the name of Christina Petrowska, who, as the special guest soloist, played the Pollack Steinway piano as if she were possessed by a music demon. Both the Affettuoso, for solo piano, and the Concierto de Camara, for piano and chamber ensemble seem to have been written with Petrowska’s special talents in mind…the latter is in fact dedicated to her. They require an easy grasp of the complete keyboard, a tremendous fluency of finger technique and a wide dynamic range…The Concierto , a world premiere, is an effective composition, especially when it is placed in the expert hands of this soloist.”

Montreal Gazette


Petrowska Brégent’s piano playing poetic, solo performance exuberant

“One of the brightest young pianists ever to grace an Edmonton stage…and it showed in this extraordinary concert. She has an intuitive understanding for any composer she cares to play. There is maximum clarity and intensity. She graces every nuance with a delicate touch, never missing a note. Her chording is strong and her ability to weave webs of poetic pianism is intoxicating. There is color in every note…The playing had transparent lightness and a wide range of dynamics, her rubatos perfectly gauged. She paints her canvas with pastels, adding prime colors to fully express the impressionism intended…Chopin’s Andante Spianato and Grande Polonaise, op. 22 concluded an absolutely compelling concert. Here the artist displayed romantic pianism of the sweetest kind, evenly weighted and colored beautifully. For an encore she tossed off La Campanella by Franz Liszt with virtuosic panache.” – Edmonton Journal



“Pianists of extraordinary talent, such as Christina Petrowska, spend a large part of their early lives perfecting technique…Miss Petrowska, a Canadian with a phenomenal ability to play the most difficult music cleanly, gave a demonstration of her achievements at Carnegie Recital Hall. A product of the Juilliard School who studied with Karlheinz Stockhausen and Gyorgy Ligeti in Europe, Miss Petrowska built most of her program around fiercely difficult contemporary works. She has fingers that work like chrome-plated pistons, and her high-seated position let her bring pulverizing power to bear.”

Donal Henahan, the New York Times


«En première partie: cette extraordinaire jeune pianiste canadienne spécialisée dans la musique actuelle, Christina Petrowska….Mme Petrowska mobilize le clavier, d’une extremité à l’autre, avec une force indescriptible.» – Claude Gingras, La Presse, Montreal


“The pianist was the non-pareil Christina Petrowska….my admiration for Christina Petrowska knew no bounds… I marveled at the way she put across the pieces…She is one of the most accomplished pianists and musicians this country has produced.” – Eric McLean, The Montreal Star


«Au debut du programme, nous avons revu cette remarquable interprète du piano contemporaine qu’est Christina Petrowska…il trouverait difficilement une interprète plus engagé que Christina Petrowska.»

Le Devoir


Spectacular labor by pianist Petrowska

“…the listeners had a chance to hear some spectacular playing and to witness more hard labor in 90 minutes than many would undergo in several weeks.” – Globe and Mail


“Christina Petrowska Quilico is one of the absolutely best young pianists. She has both greatest imagination and pianistic technique and a most exceptional artistic sensibility.”

Gyorgy Ligeti, composer


“Christina Petrowska Quilico was the pianist. Her technique was flawless, her rapport with the orchestra was unquestionable and the power was there.” (Gershwin’s Rhapsody in Blue) – Riverside Press, CA


“…One of the brightest (young) pianists ever to grace an Edmonton stage. She has an intuitive understanding for any composer she cares to play…always there is maximum clarity and intensity. She graces every nuance with a delicate touch, never missing a note. Her ability to weave webs of poetic pianism is intoxicating. There is color in every note, a brilliant performance. Chopin’s Andante Spianato and Grande Polonaise concluded an absolutely compelling concert. Here the artist displayed romantic pianism of the sweetest kind, evenly weighted and colored beautifully. For an encore she tossed off La Campanella by Franz Liszt with virtuosic panache.” – The Edmonton Journal


«Christina Petrowska est l’interprète fervente de la musique contemporaine..Cette jeune artiste présente des dons exceptionnels de technique pianistique en plus d’être douée d’une rare musicalité.»

Renee Maheux, Chronique de Paris


Debuts remarqués à Paris

«Considerée par Gyorgy Ligeti comme ‘la plus grand pianiste de sa generation,’ la jeune artiste canadienne, Christina Petrowska a donné, hier soir, un unique recital au Centre Culturel Canadien. Outre une suprenante virtuosité, Christina Petrowska sait impregner les compositions contemporaines, souvent dépourvues de thème mélodique, d’une rare sensibilité.» – Le Soleil


No secrets held from brilliant young pianist

“The feature of this concert I will remember most vividly is the playing of Christina Petrowska…she performed with extraordinary control of the instrument…” – The Montreal Star


«L’effet produit par ces trios oeuvres dit assez, je pense, les exceptionnelles traductions qu’elles ont reçues hier soir. Christina Petrowska, jeune pianiste Canadienne, a montré sans aucun doute possible qu’elle est une extraordinaire spécialiste de l’injouable musique actuelle pour piano, c’est-a-dire qu’elle possède non seulement les doigts mais encore le cerveau pour maîtriser tout cela. It était d’autant plus étonnant de trouver tant de force et d’assurance chez une aussi petite personne.»

– Claude Gingras, La Presse, Montreal


«Petrowska n’a pas seulement été très à l’aise au niveau de la technique pianistique: a tout moment, elle a fait corps avec la musique, pénètre d’instinct la matière sonore qui prit l’aspect d’un grand raz de marée.»

Le Devoir


“The first half of the evening was given over to Messiaen’s Vingt Regards sur l’Enfant-Jesus in a fantastically brilliant interpretation on the piano by Christina Petrowska. This young pianist revealed a command of touches and tonal colors…it was as if interpreter and instrument were fused together in one communing emotional experience. Such technique, even in these days when technical wizards are a dime a dozen, is rarely encountered.” – The Ottawa Journal