Several international magazines enthusiastically acclaimed Prosseda's interpretation of Mozart Sonatas (Decca).
Ingo Harden writes on Fono Forum (10/2016):
A performance which sets, more uncomprimisingly than all his spiritual predecessors, on sensible articulation and phrasing, colourfulness, agility and flexibility. Thus, he realized an interpretation of these 6 works of the Salzburg teenager which is free from professoral or historicizing rigidity, but still less from the smart ‘modern’ one-track-ideology with which Mozart can still often be heard. On the contrary, I have the impression that, here, it has been succeeded to convey the whole musical wealth of these Sonatas more lively and more powerfully than ever. Prosseda always remains close to the text, but presents it by a colour palette applied in an excitingly imaginative way and constantly opening new perspectives. A recording which has to become a new reference.
Paul Orgel shares similar thoughts in Fanfare Magazine (Sept/Oct 2016):
"I find it an unqualified success, not only interpretatively, but in showcasing a splendid piano with recorded sound that provides the perfect clarity and ambiance. Mitsuko Uchida’s cycle has long been a reliable recommendation, but, unbelievably, it is now over 40 years old, and Decca’s sound for Prosseda is far better. If his next installments are of comparable quality, Prosseda’s smart, savored Mozart Piano Sonatas will be a worthy reference recording."
Bernard Lehman also writes a very positive review in American Record Guide (Sept/Oct 2016):
"If Roberto Prosseda continues what he’s started here, I want to hear him play the rest of Mozart’s sonatas. He adds ornamentation, extends some passagework for extra bars, changes figuration or melodic shapes, and interpolates short cadenzas. His style sounds appropriate, presenting Mozart as the great improviser that he was. It keeps the music fresh and unfamiliar. The slow movements are serene enough. He meddles with the canonical way we’re accustomed to hearing the Great Master’s music. For me, though, his approach reveals what’s been missing from the standard methods: the sense of playful spontaneity. The essay and the packaging prominently advertise the use of Vallotti’s unequal temperament for this recording on a modern Fazioli piano. It sounds unobtrusive here, gently helping the music to sound relaxed in the home keys and slightly more tense in sections of farreaching modulation. Early-keyboard specialists have been using this scheme as a popular all-purpose temperament in recordings for more than 40 years. Prosseda’s beautifully creative musicianship is the stronger selling point."