“An artist with an utmost unique profile and an extreme intensity who can be infectious… Thomas Mann once had his ‘Doctor Faustus’ claim that one should enjoy Schönberg’s music by reading rather than listening to it. Brankovic’s performance very convincingly demonstrated the contrary.”

Münchner Merkur

“Starting with the first bar of the Impromptu C- Minor, Op. 90/1, Senka Brankovic immersed herself entirely in Schubert’s world, she played spiritually and soulfully and deeply impressed,  with the C-Minor piece in particular. This evening never lapsed into sheer virtuosity, it was a pleasure to listen to this pianist, whether she played Schubert or Brahms or  – in her encore-   ‘improvised’ with Franz Liszt on Franz Schubert.

Süddeutsche Zeitung

„This time the Viennese pianist Senka Brankovic, born in Croatia, demonstrated her abilities in a mercilessly varied program….she was clearly at home in Brahm’s Händel Variations: with the presentation of the theme the audience encountered kind of stomped striding dance which grew- on account of her many-facetted interpretation-  all the way from playfulness over suffering  into the final, intensely presented last fugue.

Wiener Zeitung

“You want to pay attention to Senka Brankovic.”

Oberösterreichische Nachrichten

“His pianist Senka Brankovic is far more than just an accompanist. She picks up and almost assimilates the particular character of the resp. song and with her sophisticated touch and refined dynamics  implements the compositional intentions   — an accompanist in a very  class of her own.”

Schwäbische Zeitung

“ The first sonata, an early piece by Grieg, impresses in addition with rapid violin parts – an opportunity for every violinist to prove his virtuosity. And so Alban Beikircher nestled the violin under his chin, made brief eye contact with Senka Brankovic at the piano and the instruments began their dialogue: the piano introduced the theme, the violin followed. Lyrical parts billowed to forte, tender staccato led into flowing sounds, in between there were hammering accents, violin tremolo, piano runs, until finally the piece flowed out  into spherical violin resonances . There was a close to blind understanding between the two artists, both played with utmost  concentration, seemed to sense the tones almost intuitively, they were one with their respective instruments.”

Schwäbische Zeitung