I see reverb as a soundesign tool to be used or misused, by those who understand its function and perhaps those that may only have a cursory understanding of it. I also believe that opinions on what constitutes a good piano sound will vary widely depending on the opinionator's musical tastes. With that said, I'll just add my
I believe it's true that reverb – especially an overabundance of it – can be a cover-up. But on a simpler level, I very much appreciate a good convolution reverb that imparts a sense of "space" when I'm listening to myself playing a decent virtual piano at home. This is much more evident when I wear headphones, of course. Through speakers, you're effectively projecting the sound of a "piano in a space" into a room with surfaces that are doing the same thing – sort of a "dual layer" of "spaciousness" - I really don't know what to call it, but it usually doesn't sound great to me.
When I do gigs, I use an algorithmic reverb but generally keep my sound dry. However I'll often vary the reverb amount somewhat depending on the "density" of the music coming off the stage. On a slow ballad, with lots of space between notes, I do bump up the Rt and verb's mix level because it's easier to hear the sound of the space I'm in – and with everything else echoing, hearing myself too dry causes me to tense up in my playing. I don't enjoy it; my piano sound seems mismatched to everything else. In a sense, I'm acting as a "producer" in a recording studio environment, balancing things so that the totality of the band's sound is unified – to me, anyway.
I'll just add that I do prefer my piano samples dry, for the simple reason that it's much easier to add
reverb to a sound than to subtract