There is a feeling of freedom and ebullience in these performances that I attribute mainly to the wonderful Quilico, and she is one of most satisfying pianists I have heard in this music THE AMERICAN RECORD GUIDE 2018

The 25 best Canadian classical pianists

M.P., CBC Music (

“Contemporary music demands a particularly extraordinary sort of musician: one who can meet the ever-mounting technical demands imposed by today’s composers, and who is willing to try things that have never been done before. Christina Petrowska-Quilico is one of those musicians – possibly the most respected one in Canada. Many of the greatest Canadian composers of recent times – Ann Southam, Violet Archer, John Weinzweig – have Petrowska-Quilico to thank for bringing their music to our ears.”

Excerpted from Sound Mind

John Terauds, Toronto Star

“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.”

Larysa Kuzmenko piano concerto

Elissa Poole, Globe and Mail

“….classical virtuoso performance by soloist Christina Petrowska Quilico. Kuzmenko returned to the grandiose gestures of the romantic piano concerto.”

Ten Fingers That Sound Like 20

Herald Tribune, Paris, France

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

Ligeti Etdes

The National Post

“Petrowska Quilico 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 New York times

The New York times

“….played Messiaen to perfection in the recital she gave at Carnegie Recital Hall. In the Debussy Preludes she was once again in a realm of exquisitely controlled sonorities….For an encore, she played Liszt’s “La Campanella” and did it with beautiful clarity.”

Mozart Sonatas for Violin and Piano

Gramophone Magazine UK

“Quilico’s accomplishments…her strong, dynamically pianism underlies the music’s operatic nature. Indeed, I look forward to this series’ remaining volumes.”