"When you often go to great concerts it is inevitable to be a critical listener. Steidl`s concert astonished me with his preeminent play. The whole audience rose to its feet. It (the concert) was outstanding. His playing style is similar to John Williams but not in the way of John`s 'harmonie preetablie' and balance. His (Steidl`s) performance seemed to catch the audience`s mood of the moment consciously, included feints and could not be anticipated. He plays with a vivid expression as if he composes the music/pieces."
(Gendai Guitar No. 427 August 2000)

"Pavel Steidl played this time with a wonderful Staufer instead of the no less wonderful Fisher-Rubio. The Staufer is of a quality to destroy all reservations about old instruments-if they all be like this, and if the people who play them could all be as sensitive as Steidl, we all revise our preconceptions................."
(Classical Guitar 1996)

"This is the artist suitable to play Caprices by Legnani and the Bardenklänge by Mertz. He provides the extra's that are suitable for these works, to make sure that the greatest moments become: goodtaste, generosity, imagination, the moving emotion of a vibrato that touches the heart of melody in the right way, and always that legato that interchanges all the time, but does so coherently. Pavel Steidl provides the repertoire for guitar with his incomparable solemn fashion: In his own manner he is able to pick this dissonance and to give us the opportunity to breathe it, to make us able to experience all the life that is there in this manner of playing the harmony that welcomes us, the firm melodies, the original and stimulating rhythm, this tempestuous and and enthusiastic virtuosity, that joy and humour that are part of him and make him so lively in his extra's: un r`egal !"
(Les Cahires de LA GUITARE 1995)

"Here was a guitarist who knew how to laugh with the music and share the joke with his audience. But behind the entertainer lies a serious artiet, whose extended composition in memory of Jana Obrovska proved fully capable of stirring emotions at the other end of the scale. Never was a standing ovation more richly deserved. Pavel Steidl had won the hearts and minds of a capacity crowd."
(Classical guitar magazine)

"Legnani's 36 Caprices are uniquely adventurous, varied and technically demanding nineteeth-century repertory, hence their neglect by today's recording (and even concert) players. The two movement Fantasia is on a comparable level. It is impossible to overpraise Steidl's recording on a copy of a period guitar, one to be treasured. J.D."
(GRAMOPHONE November 1998)

"By great artist I mean on this occasion Pavel Steidl. I choose my words carefully. I have listened to too many great violinists and great pianists not to know a great guitarist when I hear one. The fact that Pavel Steidl is modest, cheerful, friendly and likable and the perfect guest at a festival should not blind anyone to his true value. Sooner or later the world is going to find him out, and his fees will rise to impossible levels. Buy this record and listen to it. If you can learn to phrase like that, you will have made a real contribution to the guitar. It shouldn't be beyond a normal musical intelligence. But no one can make anyone play like Steidl. It is enough that Steidl Plays like Steidl."
Colin Cooper (about N. Coste recording 2000)

"Steidl plays with a quasi-improvisational flexibility in all of the works here and emphasizes the showy aspects of Mertz's style over its lyrical introspection (though the latter is not neglected). He varies his tempos to an extraordinary degree, taking risks that most conservatory-trained players of modern instruments would be too cautious to try. There are rhetorically exaggerated grand pauses, impetuous accelerandos, hushed turns inward, and even some unnotated special effects (like the rubbed strings). The result is invigorating, breathing life into works that can easily become tedious. There is not a single dull moment on the program - a remarkable achievement with this repertory."
(American Record Guide 2004)