According to New York Times, Francesco Libetta is a “poet aristocrat on a piano, with a profile and stature of a renaissance prince” (Matthew Gurewitsch). Olivier Bellamy mentions him as a “successor of Moriz Rosenthal, Busoni and Godowsky“ in Le Monde de la Musique. Francesco Maria Colombo wrote about the “return of elegance […] for which we thought was lost in the archives of piano interpretations” in Corriere della Sera. Luca Sabbatini calls him a “cult figure” in La Tribune de Genève, and Rafael Poleo describes him as a “historical example of skill” for the El nuevo País. Aldo Ciccolini wrote the following about Libetta “the most gifted performer of his generation”. Francesco d’Avalos dedicated all his solo piano works to him. Paolo Isotta defined him as a “thorough musician and well-behaved pianist” for his combination of “liberty and authority as a pianist with unparalleled talent in the world” (Corriere della Sera) and the “largest living pianist” (Altri canti di Marte, Marseille, 2015).

He cooperated with conductors (Antonio Pappano, Marc Andreae, Marc Albrecht, Gilbert Varga, Cristian Mandeal), violinists (Ida Haendel, Aylen Pritchin, Massimo Quarta, Giovanni Angeleri), dancers, choreographers, and ballet groups (Carla Fracci, Carlo Di Lanno, Giulio Galimberti, Stefania Ballone, Christian Fagetti, Balleto del Sud), singers (Anna Caterina Antonacci, Ernesto Palacio, Mariella Devia), actors (Alessio Boni, Michele Mirabella, Marisa Laurito, Simona Marchini, Alessandro Preziosi, Emilio Gutiérrez Caba), and numerous colleagues pianists. He was a member of the jury at international competitions (“Busoni” in Bolcano, “Livorno”, “Premio Venezia”, “Horowitz” in Kyiv, “Porino” in Cagliary, “BNDES” in Rio de Janeiro, “Roma”, etc.) He was an assistant professor at the “Miami Piano Festival Academy” (NSU Art Museum Fort Lauderdale in Florida). He gave piano classes organized by the “Paolo Grassi” foundation in Martina Franca.