Isabel sails in calmer waters: the model is a painting by José [de Guimarães],
which inspired her to create a shimmering,
flickering sound world full of finely tuned effects.
on Inscriptions Sur Une Peinture, Neue Kronen Zeitung, Vienna, 1998
…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
... 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