Uwe Engel, Die Rheinpfalz: “Intensity and sound culture.“

Christiane Voigt, Badische Neueste Nachrichten: “A performance of absolute precision, warm, balanced and full of imagination.”

Pamina-Magazin: “Sense for the structure of the work, for the flexibility of phrasing, for subtle sound coloring and rythmic figuring.”

Silvia Adler, Darmstädter Echo: “Intimate and endearing phrasing.”

Phillip Schäfer, Wormser Zeitung: “Great technical care and performing strength.”

Lázaro Azar, La Reforma: “Musicality and subtlety [....]   Witnessing the cleanliness with which she mastered the pedal, her rythmic precision, and especially the sheer joy with which she delivered the ending of Mozart’s Sonata, I couldn’t avoid longing for earlier times, when music was a fundamental part of  humanistic education.  The satisfaction produced by a good concert elevates the spirit of both the preformer and the audience.  And this was the case.”

Rainer Köhl, Die Rheinpfalz: “An outstanding talent, and at 19 years of age already an accomplished artist [...] Milena Ivandic possesses a polished style of her own, of great lyricism, extraordinary beauty of sound and performing vigor [...]  Deep instrospection and imagination in a performance of great purity and nobility [...]  Milena Ivandic has a great gift: to submerge profoundly into the music she performs.”

Die Rheinpfalz: “A talent that will certainly continue to be heard about.”

Badisches Tagesblatt und Badische Neueste Nachrichten: “A vigorous beginning followed by lyrical sequences of great beauty, which the artist performed with a delicately-dosified vibrato.  In the dramatic passages, Milena Ivandic demonstrated high technical mastery.  With particular persistence in our memory, we recall an expressive and deep passage with sordino.”

Silvia Adler, Darmstädter Echo: “The pianist created vibrant tension, from the subtlest pianíssimo to the fortíssimo.”

Uwe Engel, Die Rheinpfalz: “ Milena Ivandic is an amazing talent […] Tickets for her concert were completely sold out. The audience celebrated the young artist enthusiastically […] Her interpretation revealed great maturity – Ivandic possesses polished technique, great expressive force and the necessary understanding of the style. This was witnessed by the audience with her interpretation of Chopin’s Concerto No 1. Chopin composed his (actually second) Concerto at the same age as Milena Ivandic now has. A work of youth then, where we already find exhibited the composer’s characteristics: enormous virtuosity and at the same time intimate romantic. Ivandic satisfied all these aspects. She had no difficulty with the great technical and physichal demands of the Concerto. In her interpretation, the artist gave special importance to a high phrasing clarity. The subtle use of pedal and cleanly precise execution of each musical figure, no matter how small, prevented any pseudo-romantic inaccuracy. Instead, it was possible to experience genuine and pure romanticism, with emphasis, sound poetry and elastic, intelligent management of tempo. As encore for the ovations she received, Milena Ivandic referred to her Argentine heritage: The tango “Adios Nonino” by Astor Piazzolla, played by the artist with an excellent mix of fiery passion and pathetic melancholy.”

Die Rheinpfalz: “...with great expressiveness in the duet for violin and viola. The artists delivered masterfully even the most technically difficult passages, executing them with flamboyance.”

Uwe Engel, Die Rheinpfalz: “After tonight’s concert, the prophecy of a great career is no bold speculation.  With the Concerto for two Pianos and Chamber Orchestra y Orquesta in C Major (BWV 1061) of J. S. Bach, the Ivandic siblings proved their absolute technical mastery, coupled with enormous musicality, in a performance filled with life.  Meticulous precision in the unison passages, clarity in the poliphonics and homogeneity in the musical dialogue characterized the Concerto.  In the slow movement, the siblings distinguished wonderfully the paths of the different voices, not in mechanical fashion but providing warm expression to the phrasing.  Later, with the Bis they achieved remarkable contrast: the paraphrase of the Waltz of Tschaikowsky’s Swan Lake, which the Italian Calligaris composed for four-handed Piano, is no mere transcription, but a virtuous rework, brilliantly executed by the Ivandic siblings, who elicited deafening applause from the public.”