"Die Berliner Cembalistin Mitzi Meyerson gewinnt diesen leicht zu unterschätzenden Miniaturen dank ihres unvergleichlichen dynamischen, rhythmisch-metrischen und klangfarblichen Gestaltungsvermögens ungeahnte philosophische Dimensionen ab. Formale Komplexität, Widersprüchlichkeit, heiße Leidenschaften und das Raffinement ihrer beispielslosen Verzierungskunst machen ihre Auswahl zum Vergnügen für Hirn und Herz."
— Boris Kehrmann

"Musical elegance and subtle sensuality of style . . . the music shone and glittered."

— New York Times (USA)

"What I admire about this artist is her total control over the music. She fills the hall with a dreamlike atmosphere."
— Vaster-hottens Kuriren (Sweden)

"Aussergewoehnlich wirkte das musikalische Niveau der exzellenten Truppe um Mitzi meyerson — The Bottom Line. Insgesamt faellt bei diesen Kuenstlern sofort ein sehr variabler Spielgestus auf, eine alles ungemein belebnde Agogik, eine federleichte Brillianz."
— Tagespiegel (Berlin)

"Unquestionably, the best of our four Lufthanza events was the American harpsichordist, Mitzi Meyerson's recital at Wallace Collection. ...
"Blissful to watch close by this fine performer, her posture relaxed, movements economical and flexible, the complex ornaments thrown off with complete ease and insouicance. ... This was an hour of sheer delight, which had the audience hanging on her every phrase of Couperin, notes inegales natural and unmannered, rubato akin to a Pachmann in Chopin, with rallentandos which in other hands might seem excessive. To end, the most brilliant of the music were Forqueray Senior's viol pieces, transcribed by his son, and, to restore calm another lovely D'Anglebert prelude."

— Lufthansa Festival, Peter Grahame Woolf / Musical Pointers

"Mitzi Meyerson, die von Berlin aus die Tastenwelt mit immer neuen Entdeckungen beglückende Amerikanerin, gewährt fantastische Einblicke in diese Klangzauberschachtel: Vollendete Artikulation, Agogik, Anpassung, Affektgestik lauter Liebeserklärungen an die tönende Intimität als Kommunikationsraum. Bis die leicht von der Tastatur aufschwebenden Hände den Zauber verfliegen lassen."
— Siegfried Weyh, Göttingen Händel-Festspiel

"[T]he concert would have been only half as enjoyable without Mitzi Meyerson playing the harpsichord. With exquisitely rhythmic playing, she created a crystal-clear structure. ... Above all else, Mitzi Meyerson astonished everyone with her incredibly dramatic und dynamic interpretation of Balbastre’s pieces for solo harpsichord."
— Der Tagesspiegel (Berlin)

[Mitzi Meyerson] played a French double-manual with a big sound, and she has the expressive capabilities to push it to extremes. Her performance of works by Marais' contemporary Antoine Forqueray were passionately delivered and well received.
— Boston Herald

Mitzi Meyerson, a musician of intensely dramatic flair, exhibits the same combination of passion und judiciousness, as one may hear as well in her recordings of a variety of the harpsichord literature. In the background for much of the St. James concerts, she emerged as a stunning soloist in the performance of a suite arranged for harpsichord by Jean Baptiste-Antoine Forqueray from a selection of gamba pieces by his father. She understood the fundamental elements of theatricality, surprise, the grand gesture, the magnification of effect, which brand this music as quintessentially Baroque, for all its courtly shapeliness. The younger Forqueray’s arrangements are in themselves supremely idiomatic for the harpsichord, and Meyerson played them with a constantly renewed sense of delight and discovery and an especially invigorating freedom of rhythmic expression.
— San Diego Reader