…Com os ouvidos das mãos conheci Heart de Isabel Soveral; antes do som

da obra, o espasmo de tocá-­la pelas cordas. Para fugir a lugares certos

serpenteia por quartos de tom em linhas tão cerradas que o ouvido imperfeito

vê como manchas. Heart é um suceder de palpitações em fluxo comprimido

desaguando em harpejos largos e garridos, Heart é um cardiograma de quem

sai do escuro.

On Heart, Paulo Vaz de Carvalho 2009

... Enjoying ‘An Autumn Nigth’s Dream’, we saw that the musical component –

by Isabel Soveral – excels at the subtlety of sounds, mastery

of construction and the economy and rigor with which it applies various

compositions.

... The treatment of the prerecorded musical element reveals a great

selectivity and good taste in the choice of sounds used and,

subsequently, in the manipulation of the respective frequencies.

on An Autumn Night’s Dream / Kingdom of the Shore, Helena Santana, 2012

... The recent trend towards the eminently expressive treatment of the literary text,

with authors such as Rimbaud or Al Berto, gives an added dimention to a powerful

work – of great inner fidelity and technical mastery – far from old fashioned slackness.

on Navigateur du Soleil Incandescent, Virgílio Melo, Público,1999

“ (...) An interesting piece of work where music

is thought as in space as if it were... architecture”

on Paradeisoi, Pedro Boléo, Público, Out.2007

... Isabel Soveral does not hesitate to speak of an “alphabet of forms”

characterizing her perception of José Guimarães’s canvases when she

wrote her ‘Inscriptions sur Une Peinture’.

on Inscriptions Sur Une Peinture, Alain Poirier, E.G.M.C.,2002

...in IS's music we find ...an abstract gesture that, through composition,

produces clearly defined figures and shapes, that we grasp and identify.

on 'Pas de Deux', Pedro Amaral, 2010