“...dazzled by up-and-coming pianist....The Italian overcame what is probably the city's worst concert piano to dazzle a capacity crowd with absolutely flawless technique and deep musicality. We heard six difficult Etudes and Toccata by Schumann, a gorgeous late-Brahms Intermezzo and, the pièce de résistance, the Hungarian Rhapsody n.6 by Franz Liszt. Bertoli made it dance and sing with dazzling panache. Here is a newcomer to watch out for”
John Therauds, Toronto Star
“In the world of classical music, Italy has long been known for producing famous singers and conductors. For some reason, though, the list of renowned Italian pianists is considerably shorter — Arturo Benedetti Michelangeli and Maurizio Pollini are among those who come to mind. However, with the release of three CDs on the Cavalli Musica label featuring a young artist by the name of Mauro Bertoli, that list should be immediately augmented! ….. It’s our good fortune that he has decided to settle in Canada…At the outset, these discs are impressive with their eclecticism. While certain pianists tend to concentrate on music of certain periods, or by particular composers, Bertoli’s repertoire is wide and encompassing, spanning 300 years of piano literature….. Bertoli may hail from the land of olive trees, but his convincing interpretation of this jazzy and syncopated music from 1924 has ”Manhattan” written all over it…... Written in 1937, this music dates from early in the composer’s career and is challenging from all perspectives. With their complex rhythms and chromatic harmonies, these dances might faze many pianists, but Bertoli handles the complexities with apparent ease, bringing the disc to a spirited conclusion…..Bravissimo, Mr. Bertoli — let’s hear from you again!”
Richard Haskell, The Whole Note Magazine
"Barrie’s 2014 Colours of Music Festival featured all 10 of Beethoven’s violin and piano sonatas distributed amongst three separate concerts – morning, afternoon, evening.
...Violinist Wolfgang David and pianist Mauro Bertoli are to be congratulated for so brilliantly making such a success of the occasion. All the sonatas were approached with intelligent attention to the musical phrasing....They excelled at understanding and clearly presenting the composer’s every intention to the listener. A measure of success of the skill of these two men was the obvious rapt attention of the audience. during each of the three concerts there were places when an intimate phrase had been spoken and the composer pauses to let the thought take effect. Each time, dead silence, as no one dared interrupt the moment. Compelling....Bertoli returns to Colours this year by popular demand. His articulate, dexterous passagework, mellisonant phrases and judgment of weight of sound demonstrate his artistry.
Together the two artists used their respective fine instruments to create amazing sound that it was a privilege to hear. But not enough can be said about the sheer stamina of these two men. Presenting one concert can be draining – to present three in one day is herculean. Not only physical stamina required, but maintaining concentration for such an extended time is a huge daunting task. They are both to be admired for having the courage to attempt this prodigious feat, and for so evidently succeeding in its execution"
Michael Adamson, Barrie Examiner
“...he starts with Papillons by Schumann... rhythm and precision for the marches with stout octaves switching from right to left hand. Valzer and Dances are played with noble expression without overdoing dynamics, even when the harmony is harrowing. Bertoli in previous concerts already demonstrated his ability to avoid this usual defect of youth. His use of the right pedal was calibrated and clean, later reaching great tonal refinement. With melodic notes his phrasing is chivalric but also subtle, thanks to some anticipated basses that however don't happen every time...Rhythmic vigour continues with Nachtstucke by Schumann and an increase of dynamics brings out even more the forte and fortissimo in contrast with sweet lyricism. His performance seems not to allow even the smallest mistake....in the second sonata op.118 (by Schumann) … his fingers fly, the technique is solid but we already knew that....the program doesn't have the usual intermission and the audience members remain silent and concentrate on the music as well as the pianist on stage....Calm, elegant and self-confident - in one word, mature, even in his behaviour toward the audience.... Bertoli seems not to have any difficulties with the virtuoso Etudes by Schumann-Paganini....played with nimbleness, this tour de force earns Bertoli warm and long applause that stops only after 4 encores....the last encore is the 6th Hungarian Rhapsody by Liszt and the audience is wondering if the pianist will reach the end without dying. And when the last chord explodes and the victorious pianist stands up, the audience offers a standing ovation, clapping their hands and shouting “Bravo” "
Carlo Bianchi, Brescia Musica