"Sylvia Berry's recital opened with the quiet, searching adagio of Mozart's Sonata in E-flat Major, K. 282, a gutsy gambit that revealed a poetic sensibility and a willingness to draw listeners in with spaces to pause and reflect. These qualities contrasted nicely with up-tempo movements, which were handled with verve."

— Benjamin DunhamEarly Music America

 
 

"Berry's performances abound with wit and surprise . . . utterly delicious."

— Michael Weiss, Online Journal of the Haydn Society of North America

 
 

“Berry’s playing is technically impressive and demonstrates a high level of artistry throughout. The disc is recorded in a clear, live sound, with enough ambient reverberation to approximate a concert-hall experience. This recital would be a welcome addition to any listener’s library.”

— Myron Silberstein, Fanfare
 

 
 

"Special applause for continuo fortepianist Sylvia Berry, [who played] as if she were one of the actors."

— Lloyd SchwartzBoston Phoenix
 

 
 

“To say that Berry plays these works with vim, vigor, verve, and vitality, is actually a bit of an understatement, for she also understands the innovative aspect of this music and conveys it through her playing with keen attentiveness to the scores’ dynamic markings… I will return to this disc often when I’m in the mood for Haydn’s piano sonatas, and I’m sure you will too if you heed my recommendation to buy it.”

— Jerry Dubins, Fanfare
 

 
 

“Boston-based fortepianist Sylvia Berry has chosen an 1806 Broadwood grand . . . and the instrument is the right tool for this job. Berry is a complete master of the rhetoric throughout, whether in the driving passagework of the allegros or the cantabile adagios. A wonderful debut that augurs more wonders to a come.”

—Tom Moore, Early Music America
 

 
 

"The Mozart concertos (K. 246 and K. 414) were sprightly and delightful. Sylvia Berry is a spirited and nuanced performer whose performance drew an amazing range of energy and expression from the delicate instrument (which itself provide a rich palette of tone colors)."

— Liane Curtis, Boston Musical Musical Intelligencer