5 Stars, Diapason Magazine
One is struck by Procópio’s authority, his masterful touch and the originality of his discreet rubato. One senses the influence of his mentors (Hantaï, Rousset) in the meticulous treatment of the instrument’s resources. But Procópio’s way of revealing a work’s structure via ornamentation is as personal as it is convincing. This first half of the cycle is overflowing with life and engagement, and his technique measures up to his ideas. Bruno Procópio is certainly one to watch out for in the future.

Fanfare USA – Top 5 of the year
Young Brazilian harpsichordist Bruno Procópio, a student of Pierre Hantaï, displays many of his teacher’s most distinguishing traits – relentless rhythmic drive, passionate precision and intelligent understanding of construction. But he adds a personal touch that makes these difficult works his own turf. A brilliant first recording.

Classique News
The harpsichordist develops his graceful, flamboyant arabesques with aplomb, rising to the challenge with elegance and clarity. And the balance that the harpsichord maintains throughout this demanding, enchanting recital with the viola da gamba player bolsters our enthusiasm. Bruno Procópio pursues his Bach quest with the same polished temperament and authoritative eloquence that earned him our enthusiasm for his last recording devoted to the Keyboard Partitas.

CHOC Award, Le Monde de la Musique
JS Bach’s viola da gamba sonatas convey thousands of musical ideas. This abundance of ideas is proportionate to Emmanuelle Gigues’s and Bruno Procópio’s efforts to circulate new blood through them. Bruno Procópio energizes the listener with his refined touch. He illuminates the polyphonic interior, and takes in the ornamentation with deft, expert movements.

Early Music America
What a joy to find every note and word placed carefully and yet within the weight of deeper sentiments. Special mention goes to tracks 6 and 7 (La Gernier and Les Ondes), simply for the sheer brilliancy of Procópio’s playing. And track 20 (Rondeau Les Bagatelles), so elegantly and expertly played on a beautifully restored 18th-century French harpsichord. My humble compliments.

The Guardian – 5 stars
Bruno Procopio directed his four singers and a handful of instrumentalists in performances that negotiated the fine line between devotional austerity and bravura with exquisite dexterity.

Scotsman (Edinburgh)
The musical journey from Lisbon to Rio de Janeiro offered by Ensemble Le Sans-Pareil under director Bruno Procopio was intrepid in bringing together lesser heard 18th century pieces.

The New York Times
An arresting program in Greyfriars Kirk by the Brazilian early music group Ensemble Le Sans-Pareil, under Bruno Procopio’s direction.