“Scaramella is a little jewel in Ontario's music crown. They deserve some attention.. The huge acts that can sell out the Air Canada Centre will always attract the most attention. But there are so many jewels of artistic brilliance all over this province, so I'm going to give a little attention to one of them right here. Their chamber music concerts are exquisite." Steve Paikin, TVO, November 2011

"Joëlle Morton and harpsichordist Sara-Anne Churchill were a kickass rockstar continuo team." Facebook, 2013

"Joëlle OWNS that music!"
Facebook, February 16, 2009

"The soft, translucent, otherworldly sound of Joëlle Morton's viola da gamba drew the ear like a magnet." Tamara Bernstein, Toronto Globe and Mail, November 2007

"Just like love, great music can come from unexpected places...Scaramella played with a grace and precision that one normally associates with friends who have been making music together for years. As an ensemble, they were mesmerizing." John Terauds, Toronto Star, December 9, 2005

"Who would have thought that a G-violone could be played with such amazing speed, grace, and musicality?! Joëlle Morton was simply magnificent." Facebook, after Viola da Gamba Society of America Conclave, summer 2012

"The event this morning was fabulous, stunning, spectacular and whatever other superlative one might care to add. Joëlle Morton was superb in both her lecture and playing. As someone who has a large interest in public speaking, oratory and general speaking, myself, I found Joëlle’s extemporaneous presentation inspirational." Russell Sutherland in response to Breakfast with the Bulletin presentation at Hart House, Feb. 10, 2010

"Joëlle Morton gave a thoughtful and spirited performance of Dutch composer virtuoso Johannes Schenck's Sonata in a. I'd never before heard music by Schenck, but Morton's performance left me wanting to hear more." Nancy Tooney, New York Recorder Guild Early Music Newsletter, June 2002

"Morton was not one to plug through the continuo and let the singer do all the work. Morton's cello-like viola da gamba...echoed Taranto's hot feeling or egged her on as it filled gaps in the vocal line. Morton draws an uncommonly meaty sound from the usually shy viol...getting in the fastest divisions of the beat in Thomas Balthazar's variations on John Come Kiss." Tom Strini, Milwaukee Journal Sentinel, February 18, 2002

"Joëlle set out to prove the viol's bountiful beauty and broad capacity. She gave us not only a tour of viol literature and an illumination of some shadowy corners of violdom, but she also used the violone to great advantage--the instrument's low range was almost shockingly sonorous. Joëlle's playing was sprightly and shapely, always interesting, and extremely precise. Her presence as a player is poised and expressive. Our society’s aim was to sponsor performances of high caliber and unusual interest--Joëlle Morton, accompanied by Jennifer Griesbach on harpsichord, fulfilled our hopes in the highest." Virginia Kaycoff, Viola da Gamba Society of GNY, March 2005

"I want to compliment Joëlle Morton for her accessible and accurate account of the G violone's history and repertoire in her article Back to the Future. All too often, the G violone's role is underestimated, but Morton and other modern day virtuosi of the violone are showing us what our predecessors knew - that the G violone is a flexible instrument, equally at home in technically challenging solo repertoire as well as stylistically demanding ensemble literature." Jerry Fuller, Double Bassist Magazine, Spring 2001