"Anne Akiko Meyers was nothing less than extraordinary and possibly more — much more." - World Premiere of Adam Schoenberg's Concerto for Violin and Orchestra, "Orchard in Fog", SAN DIEGO READER, February 16, 2018

"Meyers’ playing is what it always has been: a national treasure... ...Above all, she is a musical wizard, with astonishing access to every kind of expressive color. Whether within a phrase or on just a single note, she can change tone color in a micro-second from smooth grain to rough, from dark to radiant, from thoughtful to assertive. And she can, like magic, bring new work to vibrant life." - World Premiere of Adam Schoenberg's Concerto for Violin and Orchestra, "Orchard in Fog", THE SAN DIEGO UNION-TRIBUNE, February 11, 2018

"...this is an opportunity for Meyers to show off her velvety string tone, eloquent phrasing and impeccable intonation." - Fantasia CD Review, SAN FRANCISCO CHRONICLE, January 11, 2018

"Meyers also seduces the senses in Ravel’s Tzigane, emphasising the magical essence of its blazing inspiration without the slightest whiff of empty, showpiece bravado. Yet the star item here is Rautavaara’s Fantasia (2015), one of his last works and composed especially for Meyers, who soars aloft with its tender cantabile, shaping its shimmering melodic lines with a profound sensitivity that exerts irresistible pressure on the tear ducts." - Fantasia CD Review, THE STRAD, December 2017

"Throughout the work, Meyers’ lyric playing displayed the utmost tenderness, and her fervent playing was heartfelt. The fiendish technical passages? Not a problem for this player of super finesse and passion." - Samuel Jones's Violin Concerto at Eastern Music Festival, NEWS & RECORD, July 24, 2017

"The cadenza, based on the restless searching motif heard almost at the beginning of the concerto, was a fine foil for Meyers, who has a gorgeous rich tone and infallible intonation." - Samuel Jones's Violin Concerto at Eastern Music Festival, CLASSICAL VOICE OF NORTH CAROLINA, July 22, 2017

"Meyers adjusted the color of her playing for each work. In Ravel's showpiece Tzigane she gave a forceful weight to the detached phrases of the opening...Ravel gives the violinist plenty of fierce challenges especially in the second half of the piece. Meyers took it all in stride." - Recital of Beethoven, Pärt, Einojuhani Rautavaara, Ravel, Morten Lauridsen, and Jakub Ciupinski, TIMES UNION, April 19, 2017

"The Fantasia explicitly showed off Meyers’ expressive and impressive sound. From the beginning, her melodic sound floated out from the Orchestra as the strings and woodwinds offered harmonic support and texture. ... Meyers and the Orchestra’s inviting sound made for a timeless and sensational performance of this piece." - World premiere of Rautavaara's Fantasia with the Kansas City Symphony, KCMETROPOLIS, March 28, 2017

"The extended, steady voice of Meyers’ violin, with a burgundy tone and soulful expression, floated over the sighing, undulating texture of the orchestra. The yearning inherent in the ascending line turned more agitated at the midpoint, and though the orchestra restored the meditative tone for a while, the work’s underlying imperative was revealed in Meyers’ last ascending statement." - World premiere of Rautavaara's Fantasia with the Kansas City Symphony, KANSAS CITY STAR, March 25, 2017

"Offering dynamic color throughout "Seasons," which was curiously performed with Spring and Summer at the end of the first half of the concert and Autumn and Winter after the intermission, Akiko Meyers delivered a vivid Vivaldi interpretation with zest and technique to spare. Just as the seasons vary both gently and with sudden surges, so do Vivaldi’s Seasons, dramatically represented by the soloist." - Vivaldi's Seasons with the New West Symphony, VENTURA COUNTY STAR, February 28, 2017

"Bates must be thrilled to have Meyers championing his work as she is out of this world, scampering around the instrument, up to the dizzy heights with ease and flying around like a whirlwind – breathtaking. Plenty of interest for the orchestra, too, bringing sound effects and music together in a piece that one senses has an internal logic, begging a second and a third listen." - Bates Concerto with New Zealand Symphony Orchestra, STUFF, October 5, 2016

"Soloist Anne Akiko Meyers, for whom the concerto was written, played with fire and songfulness." - Bates Concerto with National Symphony Orchestra, THE WASHINGTON POST, April 14, 2016

“There is an old-world glamour to Ms. Akiko Meyers’s playing, with her high-gloss, singing sound and her liberal use of sighing slides from one note to another.“   -Mendelssohn Violin Concerto w/ Orpheus Chamber Orchestra, THE NEW YORK TIMES, February 8, 2015

“The night‘s other stunner, an almost flawless reading of Vivaldi‘s “Four Seasons“ with guest violinist Anne Akiko Meyers.. with a third of the orchestra‘s full size – just 30-some strings – the familiar melodies sounded bright and nimble, and Meyers‘ tone was as clean as Windexed glass.“   - Vivaldi‘s Four Seasons w/ Des Moines Symphony, THE DES MOINES REGISTER, October 27, 2014

"It's an exhilarating piece other virtuoso fiddlers will want to take up, although none are likely to make it sizzle more than Meyers. She performs Barber's lushly neo-romantic concerto and Corigliano's tender little cradle piece (written to herald the birth of her daughter) with comparable panache...Highly recommended."   - CD: American Masters, Bates & Barber Concertos and Corigliano‘s Lullaby, CHICAGO TRIBUNE, October 14, 2014

“[Anne Akiko Meyers] made the most of this music, giving a clean, energetic account of the first movement, a high-spirited few minutes that bubbled along on sheer momentum... Among Meyers’ greatest assets is her tone, built around a vibrato that sounds as natural as a heartbeat, with none of the shrill, forced intensity of other violinists. In two works of tango composer Astor Piazzolla, Milonga del Angel and Oblivion, her timbre—throbbing and sensual on the lowest string, singing and lyric on the highest—gave them a seductive, passionate performance.“   - Recital of Mozart, Ravel, Piazzolla & Mason Bates in Coral Gables, SOUTH FLORIDA CLASSICAL REVIE, June 20, 2014

“Meyers performed with a sweet tone, fitfully overdoing the vibrato, and made much out of the main lyrical theme that later morphs into full silver-screen luxuriance. She also brought daunting fire and intensity to the virtuosic closing section, which provided the requisite fireworks, garnering an instantaneous standing ovation by the audience.“   - Mason Bates Violin Concerto w/ Chicago Symphony and Leonard Slatkin, CHICAGO CLASSICAL REVIEW, April 18, 2014

“The formidable solo part called on Meyers to fling handfuls of darting, flickering notes in more or less perpetual motion over a wired orchestra given to punching out down-and-dirty rhythms... The music is cannily tailored to Meyers‘ musical personality, and it put to the test her ability to draw floods of sweet tone and shape the quasi-bluesy and jazzy riffs from her priceless fiddle. She passed the test splendidly.“   - Mason Bates Violin Concert w/ Chicago Symphony and Leonard Slatkin, CHICAGO TRIBUNE, April 18, 2014

“[Meyers and the English Chamber Orchestra] exploit the imaginative possibilities of the piece, accentuating the virtuosic passages with percussive effects and the lyrical moments with pastoral tranquility... In ‘Summer‘, Meyers summon it by stirring turbulent winds with fiercely rapid cross-stringed tremolos. In ‘Winter‘, Meyers plays the biting spiccatos in a way that makes you feel ‘teeth chattering in the bitter chill‘, as described in the poem.“   - CD: Th Four Seasons, David Lockington w/ English Chamber Orchestra. CULTURE SPOT LA, February 27, 2014

“She has a vigorous tone, digging into the instrument, letting you feel the texture of the music.“   - Vivaldi w/ Buffalo Philharmonic, THE BUFFALO NEWS, November 16, 2013

“Anne Akiko Meyers gave a superbly virtuosic performance, playing on a 1741 Guarneri del Gesu violin, Ex Vieuxtemps, for which she recently received lifetime performance rights. Her lyrical portions sang sweetly and she sailed through the thorny sections as if they had been written for her instead of for violinist Issac Stern.“   - Bernstein‘s Serenade w/ Pasadena Symphony, PASADENA STAR-NEWS, November 8, 2013

“She displayed ravishing tone and sure technique in a clearly plotted performance that respectfully let Bernstein be.“   - Bernstein‘s Serenade w/ Pasadena Symphony, LOS ANGELES TIMES, November 4, 2013

“Even in Prokofiev’s speediest, most layered sections, each note [from the solo violin] was clear and distinct, and sound balance with the orchestra was nearly ideal.“   - Prokofiev Violin Concerto No. 2 w/ San Luis Obispo Symphony, NEW TIMES, October 9, 2013

“Throughout her performance on Thursday, the always brilliant Meyers played with a sensuous tone and a commanding technique.“    - Mason Bates Violin Cto, Nashville Symphony, ARTSNASH, March 1, 2013

“A rhythmic main theme contrasted by a ravishing lyrical melody that [Anne] Akiko Meyers brought out with equally ravishing tone.“    - Mason Bates Violin Cto World Premiere, Pittsburgh Symphony, PITTSBURGH POST-GAZETTE, December 8, 2012

“The music received an outstanding performance by Meyers, whose articulation and tone were an unending source of delight...a thoroughly persuasive account of the piece“.   - Mason Bates Violin Cto World Premiere, Pittsburgh Symphony, PITTSBURGH TRIBUNE-REVIEW, December 8, 2012

“In an age plagued by so much overplaying, nothing was ever forced; nuances of piano and pianissimo ravished the ear… Meyers and Nel brought out every possible nuance in the Ravel Violin Sonata: mysterious interplays, sultry blues, virtuoso skitterings. Soulful moments in the first movement were breathtakingly beautiful.”   - Chamber Music with Anton Nel, Bion Tsang, Scott Cantrell for THE DALLAS MORNING NEWS, October 20, 2012

“With Meyers, it was played not for drama, but for delectation; not for flash, but for all that is fine. Her artistry has no need for razzmatazz.“   - Mendelssohn Violin Cto, Chautauqua Symphony, CHAUTAUQUAN DAILY, August 4, 2012

"The most extraordinary thing about this production is, with the exception of the three single movements, how authentic and non-syrupy it turns out to be. Meyers has a lovely silken tone and a wonderfully unpredictable tendency to stray off the beaten path in matters of speed, authenticity, ornaments, and dynamics-combine that with intonation that unfailingly hits the sweet spot without ever seeming to touch the string, and the effect is sumptuous and thrilling."   - CD review, "Air: The Bach Album," STRINGS, July 1, 2012

"By adding a judicious degree of vibrato, Meyers produces a round, warm tone, allowing her clarity of articulation and impeccable intonation to be enjoyed at unhurried tempos."   - CD review, "Air: The Bach Album," THE STRAD, June 1, 2012

"Meyers employs judicious, minimal application of vibrato on key notes so they really sing, particularly in the upper range. In the first movement, tension increases during solo and duet areas, with Meyers calming and refining in tutti sections to emphasize the balanced ensemble and total composition rather than show off her abilities. The wistful take on the deliberate interlocking melodies of the middle movement has the power to sweep a listener away. The rapid-fire triplets of the finale amaze, and suspense builds throughout. "   - CD review, "Air: The Bach Album", THE NEW JERSEY STAR LEDGER, February 17, 2012

"A dear friend of the Santa Barbara Symphony and a world-renowned player, Meyers was in fine form for Williams's "The Lark Ascending," which sounded particularly dark and deep on her "Molitor" Stradivarius, one of the world's most sought-after instruments. Taking her time with the piece, which leaves the violinist exposed for long moments as the composition calls for many sustained, unaccompanied notes, Meyers nevertheless pulled it off with consummate artistry."   - The Santa Barbara Symphony, The Santa Barbara Independent, January 25, 2012

"Meyers simply is a treasure, a seasoned professional who worked uncommonly well with music director David Lockington and the rest of the musicians around her to give a beautiful performance that was subtly intense, decidedly focused. The lovely instrument with its sweet tone carried handsomely in her capable hands, frequently leaving the audience spellbound with the precision of her clear note placement and clean phrasing."   - Mozart Violin Cto. No. 3, Marsalis Cadenzas, Grand Rapids Symphony, The Grand Rapids Press, May 7, 2011

"No other performance approached the technical and emotional caliber of violinist Anne Akiko Meyers Friday night at the Long Center...the truth is that Meyers possesses a tone so pure that it emerges just a few times in a generation."   - Prokofiev Cto. No. 1, The Austin Symphony, The Austin Statesman, February 21, 2011

"The distinctive violinist plays Samuel Barber's Violin Concert with such intensity, depth and excellence that the audience immediately connects to her art."   - Barber Concerto, Düsseldorfer Symphoniker, NEUE RHEIN ZEITUNG, January 17, 2011

"The performances has moments of the greatest beauty and poetry: the opening of the first movement, where pianist Reiko Uchida mirrors Meyers's phrasing with some extraordinary, subtle changes of feeling and pace; in the second movement where Meyers's hushed tone is so soft and mysterious at her initial entrance that you barely hear it at first; and in the last movement where everything clicks on all cylinders. It is a performance outside of any tradition, harder and brainier at times than we have come to expect; it is Beethoven being reinvented on his own."   - CD Review, "Seasons...dreams", GRAMOPHONE, January 1, 2011

"Few could resist Meyers's swooning charms in 'Summertime', the pairing of Kosma's 'Tenderly' and 'Autumn Leaves', or Vernon Duke's 'Autumn in New York', but she typically throws in some spicier fare as well...an absolute delight."   - CD Review, "Seasons...dreams", BBC MUSIC MAGAZINE, January 1, 2011

"The Beethoven performance is sui generis, touched with poetry..."   - CD Review, "Seasons...dreams", Audiophile Audition, October 28, 2010

"Meyers, in particular, was on her game...The smoothness with which she played the Mozart was absolutely heavenly, especially the second movement's adagio."   - Mozart K.216 with W.Marsalis cadenzas, L.Langrée & SLSO, The St. Louis Examiner, September 25, 2010

"It was a pleasure to hear, a performance notable for its clarity and idiomatic sense of style from all concerned, and appropriately understated. Meyers brought technical accomplishment, a warm persona and a cool interpretive slant to her playing. Her cadenzas were written for her by Wynton Marsalis, and they brought out her strengths as a performer nicely."   - Mozart K.216 with W.Marsalis cadenzas, L.Langrée & SLSO, The St. Louis Post-Dispatch, September 24, 2010

"This recital album, played with her usual intelligence and beautiful singing tone, brings together a collection of varied works. They show some of Meyers' range and taste, as well as a disinclination to simply put together a collection of standard fare."   - CD Review, "Seasons...dreams", St. Louis Post-Dispatch, September 19, 2010

"For the Sinfonia Concertante, the TSO paired up showy American violinist Anne Akiko Meyers with its own principal viola, Teng Li...who proved to be a perfect mate for Meyers' extroverted reading of this already extroverted piece. It was an energizing way to cap an energy-filled evening of first-rate music-making."   - Mozart Sinfonia Concertante, Jane Glover, Toronto Symphony, The Toronto Star, January 20, 2010

"She played Mozart's Third Violin concerto, infusing it with rare musicality and charm....Making this performance particularly memorable was the fact that Friday's performance was the premiere of cadenzas that Meyers had commissioned jazz great Wynton Marsalis to write for her...they worked wonderfully."   - Mozart Concerto No.3, Utah Symphony with David Lockington, Deseret News, August 3, 2009

"She played with an unfailingly sweet tone, molding her phrases like a singer...If anyone needed reminding that Ms. Meyers is a performer of substance and skill, here was the proof. Her feathery lines wafted upward on Mr. Eguchi's tremulous zephyrs during the opening bars, then the two emphatically drove through a fleet, clean finale."   - "Smile" CD Release performance, (Le) Poisson Rouge, The New York Times, February 5, 2009

"A stunning recital that suggests a surprising new legitimacy to the crossover concept."   - "Smile" on Koch Records, Laurence Vittes for Audiophile Audition, January 27, 2009

"A compelling balance of glamour and gravity...Meyers has all the technique and feel to sing like the bird Messiaen envisioned."   - "Smile" on Koch Records, The New Jersey Star-Ledger, January 26, 2009

"So, for musical theatricality, it was Barber's Violin Concerto in the hands of soloist Anne Akiko Meyers that proved most memorable. Meyers plays the Royal Spanish Stradivarius violin, and her capacity to make this instrument speak was compelling. Such luxuriant richness of tone invested Barber with a rare profundity, while the moto perpetuo finale had a brilliance that convincingly carried its own dramatic logic."   - Barber Violin Concert, Andrew Litton, City of Birmingham Symphony Orchestra, The Guardian, November 17, 2008