05.25.18Happy Error: The Week in Classical Music
"...But as so often these days, I was struck by superb performers who typically fly just under the radar: in this case, the three oboists, led by Priscilla Herreid."
10.15.17Baroque orchestra Tempesta di Mare celebrates ever-present, ever-elusive Telemann
"Priscilla Herreid was downright amazing on baroque oboe." - David Patrick Stearns, Philadelphia Inquirer
09.12.16James R. Oestreich, New York Times - "A Sublime Survey of Baroque Music"
"...a thing of special beauty with its accompaniment of pizzicato strings and soaring recorder, gorgeously played by Priscilla Herreid. "
03.22.16Tom Purdom, Broad St Review - "Piffaro presents ‘Mummers’ Delight.' Songbirds and roasted birds"
"...Priscilla Herreid deserves special mention for her lively, perfectly pitched evocation of the nightingale...Young musicians like Priscilla Herreid prove [the period instrument] resurrection of the past has a future."
05.19.15Tom Purdom, Broad St Review - "Piffaro and Laughing Bird celebrate Cipriano de Rore"
"Priscilla Herreid played a set of variations on the soprano recorder... and produced a series of virtuoso displays that flowed from note to note with an unbroken, almost liquid, continuity. That’s a hard trick to pull off on the recorder and it creates a mesmerizing effect when it succeeds."
03.19.14In a Show of Early-Music Vigor, a Lofty Commitment Is Confirmed: Bach’s ‘St. Matthew Passion,’ Presented by Juilliard
James Oestreich, New York Times
01.03.14Everything's Coming up Bagpipes - interview with Priscilla Herreid
David Patrick Stearns, Philadelphia Inquirer
11.29.13Shakespeare at the Belasco - "Is This a Sackbut I Hear Before Me?"
New York Times article by Michael Cooper.
02.26.13Tom Purdom, Broad Street Review - "Across 500 years: Piffaro teams with Orchestra 2001"
"Priscilla Smith produced a bravura performance on the lead shawm, chattering away at virtuoso speed, with her fingers dancing over the surface of her instrument."
02.09.13al.com review by Michael Huebner - "Piffaro recreates musical life of New World settlers in Birmingham"
"The standout was Priscilla Smith, whose animated, conversational recorder solos were matched only by her ability to blend in a shawm consort."
09.09.12A Watershed Moment For Early Music
New York Times article by Daniel Wakin.
01.16.12"Warm Hats and Notes for Mélomanie"
"Priscilla Smith brought a very fresh and unadorned mastery of baroque oboe to the fore..."
04.07.11DC Examiner review by Patrick McCoy - "Julian Wachner leads famed NYC church in landmark series of Bach cantatas"
"Oboist Priscilla Smith was a constant delight throughout, playing with a great sense of ensemble and considerable control. The tone of her instrument was never forced and complemented the orchestra throughout."
12.03.10musicweb-international.com (Stan Metzger) reviews JuilliArd415
music of the French Baroque, with William Christie and JuilliArd415. “The star here was the oboist Priscilla Smith, who played the highly virtuosic score with tremendous skill and confidence."
04.04.10NY Times review by James Oestreich - "Juilliard Student Group Attuned to Baroque Pitch."
from a program of 18th century English music with William Christie and JuilliArd415. "...Priscilla Smith showed as much humor in bird imitations on various woodwinds as she did skill in her oboe solos."
12.18.09The Washington Post - Charles Downey reviews The Waverly Consort's "The Christmas Story" program.
"...A particularly fine performance came from Priscilla Smith, playing the shawm on the fast and furious melody of the 14th-century Italian dance piece “Chominciamento di gioia.""