Hardly no other ruler of the classic nylon string combines brilliant classic technique as well as South and North American influences that highly artistic and with feeling and is able enough to play his gypsy heritage that classy up to world language.
(Akustik Gitarre)

Fine arts of solo guitar (...) Ferenc Snétberger proves to be a musical cosmopolitan, a mediator of multi-cultural values.
(Die Welt)

... a fascinating world of sounds standing between classic, jazz and folklore without seeming "rootless" or "electic". (...) Snétberger formulates a multi-cultural world language that deserves its name: his music is worldly and open and individual at the same time. (...) Solo guitar can't be any nicer.
(Stadtmagazin Hamburg)

An evening of fragile acoustic moments which charm unfolds cautiously but effectively.
(Süddeutsche Zeitung)

There's a special guitarist (...) His name: Ferenc Snétberger. His work is far from common categories and clichés.
(Berliner Morgenpost)

When he's playing jazz it is jazz, when he's playing Latin it is Latin - at times also together - it doesn't matter, if he is solo or with a band. (...) Unlike many other tries of this kind the crossover works.
(Staccato)

The musicians' obsession warmed up everybody this evening.
(BZ)

He performed the balanced way between classical guitar literature, improvised jazz and eastern folklore on six nylon strings. (...) Vivacious, passionate accords change with virtuoso string runs in a way a human being has to be lent a third hand.
(Mainecho)

(...) his pulse is the music of the new Brazil, the Bossa Nova, (...) Such rarely excellent integration of traditional jazz improvisation into the scope of classical and folkloristic formed guitar music as well as the virtuoso mastery of even unusual techniques of rhythm just increases the already filled credit side of Ferenc Snétberger's guitaristic perfection.
(Nordbayerischer Kurier)

The Hungarian living in Berlin concentrates on the acquirement of differential sound spectrums and well-balanced harmonies. At present he is one of the best European acoustic guitarists.
(Süddeutsche Zeitung)

A grandiose technician on nylon strings who foist fast runs, tremolo and other great feat on casually and who impresses every guitar fan by atmospheric finesse.
(Abendzeitung, München)

A talented improviser who can display intensity and passion at a quiet volume.
(Cadence)

Snétberger always finds the right tone with his pieces without imitating.
(Staccato)

That what he's playing is jazz, is Brazil - just listen to his "Manha De Carnaval" (vulgo: "Orfeo Negro") with its big distancing. He knows a great deal about it. It's plain to see at his "Variation", dedicated to Django. An exquisite-modern answer to the master's "Nuages". Snétberger's big art is the dialogue between today and yesterday, is synthesis. Great guitar music.
(Akustik Gitarre)

Rarely, if ever, one single guitarist managed to mature a musical language inside himself that knows how to create a guitaristic idiom in an exemplary pure, unusually tasteful and refined way that takes "eastern" folklore, jazz and classic expression and technique to a new synthesis.
(Gitarre aktuell)