Press revue

“The abandon with which the Bélas dig into their strings at the beginning of the First Quartet – just listen to them go ! – tells us we’re in for gutsy, soulful playing.”
Phillip Clark, Gramophone, March 2014

“…joyously turned towards their era, inspired by unexpected repertoires, open to types of slightly unorthodox music. Watch them closely. Each time they present rare, singular, baffling moments of music that demand the respect of the entire profession and hypnotize audiences who always ask for more.”
Pascale Clavel, Le Petit Bulletin, November 2013

“The Quatuor Béla has this grace, this «je ne sais quoi» which speaks Jankélévitch, this irreducible thing, we can not capture or imitate in sound distinction, the hairline of the performance, the clarity of the subject. Of course, there is the technical virtuosity, which is no longer rare. The young French musicians today have often breathtaking technical level. There, before, there is musicality. These people do not flirt, they love.”
Jean-Marc Warszawski,, May 2009

“Elliptisme, biting, contained fervor: Béla are at the heart of the music, the emotion is expressed fully, never forced. 2nd Quartet Ligeti: (…) Totally dominated, precision mechanics that are the five chained sections of this contrasted partition, opens the door to a real sound and poetic adventure: pure happiness to let it lead by an ensemble which deals with the music as clearly amazed.”
Alain Cochard,, August 2013

“Aeon’s audio is excellent. In fact, in engineering terms it arguably beats all competition. (…). In purely musical terms, the Quatuor Béla’s Ligeti ranks with the best – and perhaps even higher.”
Music Web International, January 2014

“The Quatuor Béla’s members look over the moon, while that tough music they have been working since their beginning, looks obvious. (…) Anyway they prevail over it, thanks to their bow’s vigorous allegiance.”
Gilles Macassar, ffff Télérama, January 2014

“The Béla Quartet has put enormous effort into these performances of Ligeti‘s string quartets, and the virtuoso performances are as fresh and vital as they are compelling.”
Blair Sanderson, All, January 2014 (about the Ligeti release)

“Named for the century’s greatest Hungarian, Bela Bartok, Quatuor Bela was formed specifically to play this music and the bleak, spartan intensity of their reading is completely convincing. Where the Casals Quartet smooth off the rough edges and angularities, Quatuor Bela hone them to razor sharpness. (…) For those with a particular interest in this music, these carefully researched and heartfelt performances will have special appeal.(…)”
A. F. (about the Ligeti release)

“Fantastic recording. The two quartets and sonata for single cello by an ensemble with a prodigious technical skill, knowing how to do everything (with Ligeti, it’s a requirement), and performing it with the largest diversity in tone from the roughest to the smoothest…”
Jacques Drillon, Nouvel Observateur, November 2013 (about the Ligeti release)

“This French quartet, established in 2006, composed of Frédéric Aurier and Julien Dieudegard on violin, Julian Boutin on alto, and Luc Dedreuil on cello impose themselves a purity of sound, depth of interpretation and fineness to detail from the first notes. They reproduce perfectly deaf and tragic agony of Bartók. They play with a virtuosity and penetrating intelligence of the minute acrobatics of Ligeti without ever losing sight of emotion. The ensemble’s cohesion, their ability to sculpt sounds to the limits of hearing (we are reminded of this movement that the second quartet of Ligeti offers) makes these Belas one of the premiere French chamber groups today.”
Patrick De Maria, La Marseillaise, July 2013

“Bela Quartet, a young group from Lyon, is likes to cultivate a panoramic approach to music. For example, witnessing their collaborations with Albert Marcoeur but also the manner, simplified and outstandingly sensitive at the same time, they approach a scholarly contemporary repertoire.”
Mouvement, May 2009

“…these programs that the Bela Quartet musicians like to compose-first of all anxious to offer another way to approach ‘classical’ concerts, sensitive and coherent, concentrated and simple at the same time, carefully directed although cleared away of all decorum that could possibly interfere with the listener.”
David Sanson, Questions d’Artistes, Novembre 2010