" ... Prosseda takes Gounod's piano work out of it's shadowy existence and reveals a completely new view upon the French composer, free from any Kitsch."
concerti

" ... The previously unrecorded Sonata for Piano Duet is a minor masterpiece.
Its first-movement Tarantella rivals Rossini for invention and wit. The Schubertian Adagio makes full use of the piano’s registers without ever sounding too thick, while the Presto Finale (sound clip) features dashing unison octave runs, surprising harmonic detours, and dramatic use of dynamics that foreshadow Gounod’s future prowess as a man of the theater.
Needless to say, Prosseda’s masterful technique and innate idiomatic flair bring each and every piece to characterful life. ... "  Classics today

" Prosseda doesn't face these little pieces with nonchalance, as if they were products of lower quality put on the trash table. He takes them as serious as if they were treasures from the jewelry department.
Be it dexterity, assignment of voices or tempi: Prosseda considers these works […] documents of a great composer […] 
Nothing is painted over, alienated, backcombed or blowed up. Roberto Prosseda does not let himself taken by the poetry of Gounod's piano work, but takes them by their depth - at times elegiacly singing, at times softly sparkling - and never exaggerating.
With such style competence, he definitely does justice to Gounod."
Ch. Vratz

" Mozart’s piano sonatas in perfection. Roberto Prosseda enthuses with his 2nd album […]
And here it is again. This very particular sound, this very special play. Roberto Prosseda has this natural musical intuition for Mozart, this freshness, this spontaneity. […]
Already Prossseda’s first album had enthused me. And this one does it once again. […]
Prosseda convinces with freshness, spontaniety and little improvisations.
Is Roberto Prosseda allowed to do so? I think, yes, he is!  These are the liberties who make something new, fresh out of well-known familarities. Which open our ears and catches our attention. Mozart himself has been a great improvisator, who never slavishly sticked at his own score. And that is exactly what makes his music even more lively. […]  I’m already looking forward to the 3rd album. "  HR2

“ … Roberto Prosseda is a subtle and sophisticated mind at the keys.
His articulation is incredibly carefully and lovingly, and on top of it, he offers a great many of sound colors in piano and pianissimo passages. Particularly special is his art of ornamentation. Again and again, he takes the liberty to add little and elegant excursions, which are not written in the score. Prosseda does that the way Mozart certainly did it at his time.
He improvises and ornaments stylistically correct and is not slavishly following the text - Mozart would certainly have liked it. “   Radio Bremen

[...] a music which, almost like Chopin, tells stories in an utmost small space. … “
FONO FORUM,  Juli/17

“ …  a performance  which sets, more uncomprimisingly than all his spiritual predecessors, on sensible articulation and phrasing, colourfulness, agility and flexibility.

However, the instrument he chose was not a historical fortepiano, but a Fazioli grand piano from 2015, delicately tuned in one of the historical unequal temperaments, which allowed him to realize amazingly well Mozart’s piano writing in a lean way, with an extreme richness of nuances and a soft piano down to a breathed-like pianissimo.

Thus, he realized an interpretation […] which is free from professoral or historicizing rigidity, but still less from the smart ‘modern’ one-track-ideology with which Mozart can still often be heard.

On the contrary, I have the impression that, here, it has been succeeded to convey the whole musical wealth of these Sonatas more lively and more powerfully than ever.

Prosseda always remains close to the text, but presents it by a colour palette applied in an excitingly imaginative way and constantly opening new perspectives: a recording which has to become a new reference.    Ingo Harden, Fono Forum

" ... the choice of the instrument plaid a major role. Even though he plays a modern grand piano, it’s mechanic and soundboard allow him to explore effects reminding a pianoforte. And moreover, he chose the tempered Valotti tuning still common in the 19^th century.

The combination of these 3 elements for the recording of the first 6 piano sonatas leads to an extremely remarkable and impressive sound experience.

Thus, we’re really looking forward to how the pianist will approach the next works by the Salzburg master. " DR-Kultur

(...) There were many more beautiful moments in Merkavot by the Israeli composer Betty Olivero. In its first movement, quiet communications among solo strings survived sudden single events: percussion impulses or huge chords that had a somewhat Messian- like shine and seductiveness, but within a far more fluid musical world. The second, with warbling flute and clarinet, the constant, again swayed and bulged unpredictably. Here was one composer to ask back (...)"  The New York Times

"(...) The major discovery was Betty Olivero`s Batnun, a single-movement Concerto for double bass and orchestra that stands as one of the few fully convincing solo pieces for double bass I've encountered (...)"   The New York Times

"Betty Olivero`s song-cycle, Cantes Amargos, is one of the most beautiful works of its kind heard in recent memory (...)"  Daily News