Press Reviews

Landmark. No one has played Schubert like this since Harnoncourt: 
defiant, with accented rhythms, and yet with a warm and soft sound, even beguiling if need be. The excellent woodwind section underlines these striking sound mixtures.
Musik & Theater – Das Schweizer Kulturmagazin mit intern. Kompetenz, Reinmar Wagner

Rocking The Mendelssohn String Symphonies. […] Here comes a recording that’s not content with just playing the music beautifully. Instead, it jumpstarts these works and makes them transcend themselves. You don’t have to concentrate on the music, it grabs you by the lapel.
Forbes.com, The 10 Best Classical Recordings Of 2017, Jens F. Laurson

If anybody is capable of convincingly retrieving Schubert’s honour as an opera composer then it is these artists!
Bayerischer Rundfunk (BR-Klassik), Ursula Adamski-Störmer

[…] I am impressed by MIchi Gaigg’s own personal stilistic approach which makes me hear Schubert differently.
Schweizer Rundfunk (SRF2), Lislot Frei

Michi Gaigg has long outgrown being one of Nikolaus Harnoncourt’s best students. In profile with her L’Orfeo Barockorchester she has emerged as a congenial successor of the Concentus Musicus master. She has walked her own way as can readily be heard on this new release. […] This recording of Mozart’s oratorio [Betulia liberata] is an experience: drama is united with noblesse and perfection. […] The recording adds to Mozart’s repertoire.
Das Orchester, Iris Hildegard Winkler

[…] L’Orfeo Barockorchester play with an attractive thrust and graininess, with solos well taken and horns ringing out gloriously […] a vivid and dramatic snapshot of this stage [Betulia liberata] in the wunderkind’s astonishing development.
Gramophone, David Threasher

Or put is as an understatement, Dorothee Mields and the L’Orfeo Barockorchester, directed by Michi Gaigg, simply
make good music.
Fono Forum, Matthias Hengelbrock

A delight from start to finish [Telemann mit Dorothee Mields].
BBC Music Magazine

The lightness and fluidity of these performances, technically impeccable without revealing any of the considerable effort behind that perfection, make one hope that more Bach sacred works will be on the group’s studio docket.
The Washington Post, Charles T. Downey

The Orfeo Baroque Orchestra give a vibrant performance of Rameau. Gaigg is a decisive leader who encourages her colleagues to brandish their bows and clip the dotted notes with breathtaking panache […] strikingly idiosyncratic performances.
Gramophone

The first generation who dealt with Historical Performance Practice regarded Early Music as a speech form. When the violinist and conductor Michi Gaigg sets hand to Early Music it even materializes as a living entity. […]
Neue Zürcher Zeitung, Felix Michel

The L’Orfeo Barockorchester is one of the most fascinating European ensembles in the field of Historically Informed Performance Practice.
Sonograma Magazine (Spain)

This Austrian orchestra has gained a remarkable reputation during the last 15 years. The ensemble from Linz counts among the leading period instrument orchestras. It hasn’t lost any of its enthusiasm over the years, on the contrary […].
Bayerischer Rundfunk (BR-Klassik), Dirk Kruse

In the meantime L’Orfeo has also moved on to Schubert. Their playing is a combination of Baroque accents, clear dance rhythms and a sumptuous approach to sound.
Fono Forum, Arnd Richter

What is this special sound then that makes L’Orfeo so unmistakable? If one listens to the newest release of Telemann’ Orpheus one is immediately struck by the direct, even harsh sound in the first three bars. The noisy gut strings and early winds are treated as colours to a larger picture. At the same time the approach is fresh and eloquently formulated, with pointed rhythms, balanced string playing with the strong bass, transparent middle parts and warm blending violins. An earthy sound prevails notwithstanding the lightness of the playing. Michi Gaigg seems to approach all music from a sense of movement. […]
Neue Zürcher Zeitung, Jenny Berg

The continuum of this ensemble emerged from years of working towards an own individual sound. In the process a strong team spirit evolved.
Musik & Theater (Switzerland), Benjamin Herzog

Who can still surprise an audience today with a musical rendering, phrasing, sound? Who can even confound an audience? Michi Gaigg and L’Orfeo can.
ORF Radio Ö1, Hans Georg Nicklaus

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