“Ileana Citaristi presented a very appropriate piece Aekalavya from Mahabharat. The episode of the immortal story was portrayed with intrinsic passion and dignity both in movements and abhinaya. The seasoned dancer used the open air concrete stage with athletic elegance, preserving her guru’s visualization and nritya while communicating to the audience the poignant episode effectively.”
April-June 2014, Nartanam, Hyderabad
“Kala-Time Bound”, Ileana CItaristi’s new production, starts with well rehearsed group showing spreading feel for Time in an opening scene set to a hymn from the Upanishad, where dancers only moving arms, gradually feel vibrations of a time-span dictating movement, flowering out in space in geometry of circle, square and rectangle. Innovative ventures have always been Ileana’s forte.”
5 April ’13, The Hindu, New Delhi
“Entitled KARUNA, based more on opaque situations empathizing with the suffering of humanity, the choreographer wisely veered away from a direct personalized representation of Mother Theresa.. not an easy theme for treatment she has used movements with props in hand like mats.. a group work out of the ordinary.”
29 April ’10. The Hindu, New Delhi
"Ileana, who had been a theatre artist and a student of philosophy, had chosen the most flammable subjects for her performance. She started with a compelling display of her artistic virility by choreographing Bhagawat Gita in a graphic manner. Her next composition, Sharanam, recounted the story of three women, mary Magdalena, Amrapalli and Pingala."
2 April, ’10-HindustanTimes, Bhopal
"Dr Ileana Citaristi’s familiarity with the local culture and ethos was evident in her abhinaya. .. ‘Sharanam’, a contemporary composition about women from three faiths (Mary Magdalena-Christianity, Amrapalli-Buddhism, Pingala-Hinduism) who gain salvation despite their dubious pasts, was the most thought-provoking."
5 February, ’10-The Hindu, Chennai
"With an ensemble of high talented artists, the cultural extravaganza at Pune Festival seems to be a delight for the audience.. As the curtain drew up on Monday. Padmashri Dr Ileana Citaristi and her troupe in her owe-inspiring Odissi ballet Tantra embraces her moves with a connotation of female analogy. Her performance truly enlightened the evening."
10 September. ’08-The Indian Express. Pune
"The story of the tribal chief Jara who pays such a terrible price for his self taught skill in archery with his devotion to his manasik guru Dronacharya, which earns him the title of Ekalavya, was brought out in an impassioned presentation by Ileana, this being one of the best performances seen from the dancer recently."
11 May, ’01-The Hindu, New Delhi
"It was her third piece, Images of change, which provided a memorable dance experience. Imaginatively choreographed, for two dancers, male and female, it explored the Chinese philosophical concept of Yin and Yang, the receptive and creative forces of the universe."
26 March, ’00- The Times of India, Mumbai
"Days later the same auditorium featured Ileana Citarisiti in a fabulous show in two parts. The first titled The Journey was a solo presentation. And what a wonderful presentation it was.. The rather abstract concept of going through life till one becomes the Buddha was superbly choreographed and executed by Ileana..The second piece, titled Pancha Bhuta will go down in the annals of Chhau as one that more than served its cause..Ileana'a superb choreography showed what innovation in traditional arts is all about."
4 October, '98- The Times of India, New Delhi
"From the word go, Ileana was a picture of perfection, doing justice to the dance of the 'tribhanga' as she maintained the strict postures of the three body parts without ever losing the grace which played expressions on her face."
24 March, '97- The Indian Express, Chandigarh
"Taking one through a plethora of emotions in taal and abhinaya, Dr.Ileana Citaristi's dance recital was an absolute pleasure to watch. Giving a flying start to the Pune Festival Ileana's Odissi performance at BalGandharv Rang Mandir was enthusiastically received by dance lovers."
22 September, '96- The Indian Express, Pune
"But the concluding choreographic work of lleana, 'Maya Darpan' provided a fitting finale to the Festival.. Her innate sense of exploiting the space, the aesthetic sensitivity to select the best of the Odissi and a little of Mayurbhanj Chhau and the blending of the two, won lleana all the credit."
22 May, '93- The Economic Times, Bombay
"Chandralekha was sure that in 'Bhinna Pravaha' she wanted to explore the 'slow, grave, continuous' character of 'Ganga' in the Chhau form- Towards this she had warned Ileana Citaristi that she would have to practice moving and remaining on a single leg for at least twenty minutes without putting her foot down. That lleana surpassed herself is unquestionable. The manner in which she enters and slides across the stage on one leg had several people clutching their tongues in awe.."
20 April, '93- The Economic Times, Bombay
"Ileana Citaristi captured her audience and established herself once again as an outstanding Odissi dancer.. Choreographed by herself, the pallavi in 'Bakula-baranam raga' contained graceful movements. along with eye-catching postures. The 'Navarasa' expositions were dedicated to lord Shiva and vividly presented lleana's virtuosity at its best".
6 March. '91- The Telegraph, Calcutta.
"Very much in form, with a pervading serenity, lleana's dance reached a zenith with Navarasa which was premiered by her.... So strong was the impact by the time she reached the Shanta Rasa that there was little need for traditional Moksha."
3 October, '90- The Times of India, New Delhi
"Time was when it would be said that lleana was the best foreign exponent of Odissi. On the basis of lleana recitals during the past three years we are in a position to say that she is one of the finest exponents of Odissi in India to day".
5 June, '88- Financial Express, Bombay
"Ieana's 'Maya Mriga' was the most exhausting piece wherein she related 'Site Haran', "Jatayu Vadh" etc... this was the peak of lleana's Odissi performance. Her transformation from an Italian to an Indian Sita was amazing. Her 'tribhangam' postures were simply majestic".
2 April. '88- The Tribune, Chandigarh
"Her recital for the Constitution Club... was remarkable for the absolute mastery she displayed in the Bhangis. Each movement of hers seemed to be pre-ordained. Ileana's interpretation of the two Ashtapadis.. were remarkable for the maturity of expression, the eloquence of the eyes and for apt reflection of the sentiments of Jayadeva's compositions both philosophically and lyrically..."
2 August. '87- The Hindustan Times, New Delhi
"In 'Narcissus and Echo' she showed her admirable understanding of how the two can be fused... Her choreography shone with the iridescence of a gem, the depth imparted by severe practice and above all an intellectual approach to the possibilities of the style."
25 August, '86- The Hindustan Times, New Delhi
"Dr. Ileana Citaristi, an exponent in the Odissi dance, enthralled the audience with her superb performance. Striking winsome smiles, captivating postures and expressive abhinaya, she presented the items in a tellingly poignant fashion".
15 February. '85- The Times, Bangalore
"lleana's recital.... takes her to the front rank of Odissi dancers and evidently, leaves her in majestic isolation abroad as an exponent of this dance technique."
17 April, '84- The Times of India, Bombay
"She was magnificent in her depiction of "Shiva Tandava". The earth seemed to shake when Citaristi stamped the stage in Mayurbhanj style of Chhau. Guru Hari Nayak has found a worthy pupil in this Italian senorita".
23 August. '83- Financial Express, New Delhi
"IIeana can easily become the only foreign exponent who will find a mention in any true chronicle of Indian dancing in the modern period. Ileana will beat hollow a dozen Indian Odissi dancers and easily measure up to the best exponent."
2 May. '83- The Times of India, Bombay
"Among the foreign exponents of Odissi, Miss lleana Citaristi from Italy has emerged as one of the most promising. Guru Kelucharan Mohapatra's direct supervision and care has enable lleana to portray the intricate beauty of Odissi with confidence and ease."
11 January 82- The Hindustan Standard, Cuttack