"Offering Shostakovich’s Prelude and Fugue in D minor (1951), pianist Liudmila Georgievskaya conveyed majestic grandeur in the prelude with broad gestures and a rumbling bass line. In the fugue, she opened with stately elegance, keeping the counterpoint light and flowing, and later explored romantic impulses"
Dallas Morning News, Scott Cantrell, September 2021
"the program she presented...and, above all, the way she interpreted it, left many people open-mouthed:
absolute art, technique, and musicality... Georgievskaya was an exemplary messenger of Beethoven's pianism, delivering some stupendous dynamic contrasts and achieving a delightful sonority in pianissimo... great sound control in pianissimo as well as a stunning interpretative security... formidable performance...
she knew well how to express the lyricism of this work submerging the audience in a game of contrasts and virtuosity of great beauty... her mastery of the instrument borders on perfection...Georgievskaya left many people astounded
while achieving the sound climax at vertiginous speed and without apparent effort"
Scherzo Magazine, Michael Thallium, April 2019
“Transcendent in her search for the universal... Georgievskaya gives a pure, correct, elegant interpretation...her approach to Beethoven's classicism is very accurate, variations like the fourth one are executed in a pristine way, and the runaway finale borders on perfection”
Ritmo, Inés Ruiz Artola, March 2014
“Her subtle way of shaping and differentiating lines works miraculously"
Pizzicato, Remy Franck, October 2014
“Georgievskaya and Thomas Schwan, who happen to be married,
teamed up for Percy Grainger's alternately rousing and dreamy
Fantasy on Gershwin's Porgy and Bess, for two pianos. [...] Georgievskaya and Schwan served the flash with great flair, but they warmly caressed hit tunes from Gershwin's great opera, including 'Summertime' and 'Bess, You Is My Woman Now'. Surely no one walked out of Caruth without a big smile.”
Dallas Morning News, Scott Cantrell, February 2019
“Light-fingered, unrhetorical and supremely articulate playing ... What a joy is this performance”
Herald Scotland, Michael Tumelty, February 2014
“In Ginastera's Danzas Argentines (1937) pianist Liudmila Georgievskaya delivered driving, pounding rhythms with pizzazz, dreamy music with poetry”
Dallas Morning News, Scott Cantrell, May 2018
“There’s a sharp, inquisitive mind shaping the performance, one that’s quickly responsive to every change of direction … It makes for an involving, energizing experience”
The Guardian, Andrew Clements, January 2014
“She plays Beethoven’s fifteen Eroica Variations almost seamlessly … She has perfect balance in the canon in variation VII and she crosses hands so smoothly in VIII and XI that you’d swear you could hear three octaves at once … The last movement’s complex fugue on the simple theme has the Russian pianist at her most brilliant”
Words and Music, Rick Jones, December 2013
“Authoritative, expressive performances”
Dallas Morning News, Scott Cantrell, October 2013
“The concerts and masterclasses were exciting and enlightening … The interpretations inspired us with their depth, clarity and sincerity”
Pravda Vostoka, Gusal Tagieva, June 2004