“He plays with imagination, taste, subtlety, and daring.”
The Boston Globe

“New York’s world-class early music violinist.”—The New Yorker

Die Presse, Vienna, January 30, 2007
of a concert with Paul O’Dette for the Viennese Resonanzen Festival in the Konzerthaus:
…aus den USA kam der phänomenale Barockgeiger Robert Mealy mit seinem klaren, leuchtenden Ton, seiner kantablen Phrasierung und—besonders auffallend—seiner historisch getreuen Geigenhaltung.
(from America came the phenomenal baroque violinist Robert Mealy, with his clear, luminous tone, his singing phrasing and—most strikingly—his historically-appropriate way of holding the violin.

The New York Times, January 15, 2007
(in a concert by the New York Collegium)
Mr. Mealy, a precise, extrovert performer, gave a thrilling account of Schmelzer’s Sonata tertia (from Sonatae unarum fidium, 1664), sensitively accompanied by the harpsichordist Eric Milnes.

The New Yorker, October 9, 2006
Robert Mealy, the New York Collegium’s superb concertmaster…

Washington Post, June 5, 2006
(of a concert with the Folger Consort:)
Robert Mealy, cradling his violin at chest level, turned in some profoundly moving playing (Tobias Hume’s “Passion of Musicke” was a minor miracle).

Pittsburgh Post-Gazette,
December 13, 2006
(of a concert with Spiritus Collective:)
In addition to exquisite, virtuosic ensemble playing, several of the musicians had shimmering solo moments. Mealy easily expressed the melodic brilliance of Biber’s solo sonata, “The Annunciation,” an aural representation of the angel Gabriel’s wings… Andrijeski joined Mealy for a superbly crafted duet improvisation in Praetorius’ “Puer natus in Bethlehem.”

Early Music, November 2005
[Boris Godenouw:] Even with so much musical variety, several numbers stand out, notably Tsar Theodorus’s Schwangesang, written with obbligato violin (sung emotively by Olivier Laquerre and accompanied superbly by Robert Mealy)… The star of the opera—and, perhaps, the entire festival—was the Boston Early Music Festival Orchestra. In performance, leadership was often left to violinist Robert Mealy, who appeared to levitate from his chair when giving cues.

Sept/Oct 2005
[New York Collegium's recording of Biber:] The notes by Robert Mealy are a model, providing not only an excellent historical background, but also guiding the listener through both music and liturgy with unerring skill.

Boston Globe, June 16, 2005
Best of all, [Mattheson's] melodies have an irresistibly sensuous Italianate curve to them, and they linger in the memory. One number, the death aria of the old Czar, does arrive at pathos, at least when the violin obbligato is delivered as meaningfully as concertmaster Robert Mealy did Tuesday night at the Cutler Majestic Theatre. [The reviewer goes on to praise] the all-out effort of the superb orchestra and its dazzling continuo section.

Boston Phoenix, June 16, 2005
The most exceptional music came from the pit. Concertmaster Robert Mealy played more music than anyone onstage or off, every measure of it with erudition and compelling energy.

Wall Street Journal, June 20, 2005
The wonderful 31-member orchestra, led by violinist Robert Mealy, was the star of the show.

New Yorker, May 2005
Robert Mealy, New York’s world-class early-music violinist.

Newsday, Feb 2, 2004
Violinist Robert Mealy led a small group of strings with immaculate taste.

Boston Globe, June 16, 2003
The spotlight was on Baroque violinist Robert Mealy, who plays with imagination, taste, subtlety, and daring.

Boston Herald, May 11, 2002
Mealy is a wonder of early music performance.

Boston Herald, June 18, 1993
A master musician, fluent, intelligent and natural.

Boston Globe, September 23, 1991
Mealy was outstanding; this wonderful young player has unlocked the soul of the baroque violin.