“And Ileana Perez Velázquez in ‘Idolos del Sueño,’ for the same instrumentation with cello added, had Ms. Mackenzie sing with an otherworldly quality mirrored in the accompaniment and sounding like a musical expression of the Latin American literary form magical realism.”
                                                 Allan Kozinn for The New York Times, May 3, 2011.

“Some of my favorite music of the evening was in the opening of “Idolos del sueño”  (“Dream Eidolons” – 2010) by Cuban-born Ileana Perez Velázquez (b. 1964). Soprano, clarinet, violin, cello, and piano conveyed the transparency of water and ephemeral reflections in an almost miraculous way, drawing the mesmerized listener into the world of Cuban poet Carlos Pintado.”
                               Rorianne Schrade for New York Concert Review, May 1, 2011.

“Ileana Perez-Velazquez’s “…Un Ser Con Unas Alas Enormes” (“…A Being With Enormous Wings”), heard on the same occasion, gave Mr. Roth’s Violin the metallic yet rubbery wings of electronic sound. Violence? Maybe not. But imaginative strength and musical consistency, yes.”
Paul Griffiths for The New York Times, March 18, 1999.

Review of Miranda Cuckson’s “Melting The Darkness” Urlicht CD in the 2014 April print edition of The Wire: Adventures In Modern Music “The three final pieces pit violin against electronics, most impressively in Ileana Perez-Velazquez’s un ser con unas alas enormes (a being with enormous wings).”

“Concert brings out best in Berkshire Symphony”   The premiere of faculty composer Ileana Perez Velazquez’s violin concerto rounded out the program. On first acquaintance, the three-movement work was most notable for the dazzling, rhapsodic performance of concertmaster Joanna Kurkowicz as soloist.   Perez Velazquez titles the movements “The Journey Back to the Source,” “Inner Voices” and “Homage to Caribbean Light and Life.” The last movement, she writes, evokes the landscape of her youth.   Intricate, often Latin rhythms and exotic percussion — especially drumming — spike the music. Near the end, a drum all but battles the soloist for supremacy during a cadenza. The violin won.

Andrew Pincus for The Berkshire Eagle, 11/24/2014

American Record Guide Review of  “The music of Ileana Perez Velazquez” (Albany Records)  “…a refreshing blend of lively movement and poise in a harmonically active style that maintains clear references to tonality” (2008, vol. 71 issue 4)

“El trio para violin, chelo, y piano de Ileana Perez (1964), interpretado por Alexis Borges, Ana Ruth Bermudez y la autora al piano respectivamente, es de lo mejor incluido en la presente Jornada (Festival UNEAC 1986). En la obra se respira la buena influencia, lo cual no es censurable por la excelencia del modelo, pero lo sorprendente es la intensidad dramatica de su contenido dada la juventud de Ileana quien ha demostrado una profundidad en el tratamiento de las ideas y una madurez creativa en la organizacion del plano sonoro que a todos impacto. Ileana Perez es, sin dudas, uno de los grandes talentos de la nueva generacion de compositores y merece toda la atencion que precisa su desarrollo artistico future”
Jose Amer, Juventud Rebelde, 1986 (Cuba)