L’Orfeo Barockorchester

“In the Italian Style” ∙ L’Orfeo Barockorchester’s 15th anniversary
Franz Schubert Concert Ouvertures D 470, 590 & 591 ∙ Symphony Nr. 5 B flat major D 485
Joseph Haydn Arie per un’amante ∙ Inserted Arias for Luigia Polzelli
Margot Oitzinger, mezzo soprano ∙ L’Orfeo Barockorchester ∙ conducted by: Michi Gaigg
Oberstdorfer Musiksommer, St Johannes Baptist, 28 July 2011
donauFESTWOCHEN im strudengau, Stiftskirche Waldhausen, 31 July 2011

Klaus Schmidt, Allgäuer Zeitung, 30 July 2011
The highlight of the evening turned out to be the Fifth Symphony in B-flat major. Reminding the listener of Mozart, the orchestra found a passionate balance between light, elegant melodies and abysmal drama.

Walter Weidringer, Die Presse, 2 August 2011
Mecurial: Schubert’s manuscript revisited
[…] Chattering woodwinds, belting horns, shockingly dramatic timpanies […] when applied in this fashion the two Overtures „in Italian style“ D590 and 592 gain a specific profile without losing their buoyancy. […] Gaigg presented the Fifth Symphony as contrast: set without clarinets, trumpets and timpani it complemented the overtures. Additionally Margot Oitzinger sang three Arias by Joseph Haydn which he composed for different operas by Cimarosa. Unique music performed here with drive by a clear mezzo voice.

Michael Wruss, Oberösterreichische Nachrichten, 2 August 2011
A worthy anniversary with Schubert
[…] Schubert in original guise […]. In the Overtures already a transparent, neither thin nor harsh sound, prevailed. Clarity was embedded in an emotional warmth. The result was not a mere analytical discovery but first and foremost cleared the way for passionate musicianship.
This interpretational integrity bears nothing spectacular, leaves no space for shocking tempo changes but rather pleases the listener’s ear. It suited the Fifth Symphony especially well since this work combines a seeming careless playfulness with Schubert’s darker dimensions. The latter was rendered with well-timed poignancy.
Especially the Andante seemed to soar away, carrying the listener along. The Trio and Finale presented the same elegance than the first movement. The sound of the historical instruments especially contributed to this noblesse. Standing ovations for the orchestra and Michi Gaigg […].

Completed Trilogy of early one act operas by Gioachino Rossini in the „
Musikverein für Steiermark“, Graz, 18 - 20 March 2011
Gioachino Rossini
La cambiale di matrimonio (The Bill of Marriage)
Farsa comica in one act (1810) ∙ Libretto by Gaetano Rossi
with Moritz Gogg, Elizabeth Hott, Lianghua Gong,
Alexander Puhrer, Darina Kandulkova, Josef Pepper
Produced by: Matthias von Stegmann
Stage: Frieder Klein
Costumes: Tanja Aranovych
L’Orfeo Barockorchester
conducted by Michi Gaigg

Hansjörg Spies, Die Furche, 24. März 2011
“Unbändiger Spieltrieb
Gioachino Rossinis Farsa „La cambiale di matrimonio” schlug als kleine Belcanto-Bombe ein. […] Musikalische Wohllautraketen zündet die fundamentale Rossini-Kennerin Michi Gaigg mit ihrem knapp dreißigköpfigen L’Orfeo Barockorchester [...].”

Ernst Naredi-Rainer, Kleine Zeitung, 20 March 2011
“Brilliant ensemble, witty production
[…] With this early work (1810, Venice) the 18 year old Rossini already gives us a glimpse of his genius. Even though he quotes and parodies his predecessors such as Domenico Cimarosa, Fernando Paer or Simon Mayr, his own melodic inventiveness and rhythmical drive is unmistakable 
[…] The L’Orfeo Barockorchester, conducted by Michi Gaigg, underlines these qualities with buoyancy and temperament.”

Matthias Wagner, Neue Kronenzeitung, 20 March 2011
“[…] Filled with special moments: most effective switches between recitativos with harpsichord accompaniment and arias, duetts and trios. The many tempo changes are executed with spunk, contagious accents […]“

Die Hoffnung des Wiedersehens ∙ 330th Anniversary of Georg Philipp Telemann

Welser Abonnementkonzerte, 9 March 2011
Frankfurt am Main, Hessischer Rundfunk, Lunchkonzert, 13 March 2011
Georg Philipp Telemann: Secular Cantatas and selected Arias;
Concerto D major for Violin, Strings and B.c.;
Concerto e minor for Oboe d’amore, Strings and B.c.
Dorothee Mields, Soprano
Martin Jopp, Violin
Carin van Heerden, Oboe d’amore
Directed by Michi Gaigg

Frankfurter Neue Presse, 16. March 2011
“Love conquers all.
The convincing performance by L’Orfeo and the clever concept of the programme once again confirmed Telemann to be one of the most ingenious and original composers of the Baroque era. Before the audience was presented with Dorothee Mields’ exquisite soprano the orchestra had the opportunity to show ample temperament and radiance, underlining Telemann’s melodic abundance and rhythmical touch. […]“

Axel Zibulski, Offenbach-Post, 16 March 2011
“[...] a stringent, clever and versatile programme of solo concertos, arias and cantatas by Telemann. Love truely conquers all with Dorothee Mields’ fine articulation, flexibility and beautifully sustained voice. L’Orfeo added two solo concertos for violin (Martin Jopp) and oboe d’amore rendered elegantly by Carin van Heerden [...] a highly enjoyable lunchhour concert.”

Karin Schütze, Oberösterreichische Nachrichten, 11 March 2011
“The German vioinist Martin Jopp rendered a spirited upbeat […]. Dorothee Mields enchanted the audience with arias for operas by George Frederic Handel and Reinhard Keiser with a flexible and crystal clear voice, with soaring beauty and profound diction. […] During the second half of the programme the Concerto in e minor for oboe d’amore was integrated in the programme, played delicately and with great care for details by the soloist Carin van Heerden. 
The L’Orfeo Barockorchester was directed discreetly by Michi Gaigg. The Baroque ornamentation was chiseled from the score with balanced aesthetics, elegant flexibiliy and sweeping joy. There was no mistaking the obvious vibe between the soloists and the orchestra […]“

donauFESTWOCHEN im strudengau, Grein, 7 - 15 August 2010
G.Ph. Telemann, Orpheus or The Wonderful Contancy of Love
Orasia – Karina Lochner, Soprano
Orpheus – Markus Volpert, Baritone
Euridyce – Ulrike Hofbauer, Soprano
Eurimedes – Christian Zenker, Tenor
Ismene – Barbara Kraus, Soprano
Pluto – Reinhard Mayr, Bass
Cephisa – Marelize Gerber, Soprano
Ascalax – Julie Comparini, Alto
L’Orfeo Barockorchester
Conductor: Michi Gaigg

Opernwelt – The International Opera Magazine, Birgit Pauls, September/October 2010
“[…] Michi Gaigg presents this work on the “Power of Music” [Telemann’s Orpheus] with gripping tension and tremendous sensitivity in the lyrical sections. […]“

Frankfurter Allgemeine Zeitung, Dirk Schümer, 12 August 2010
Orpheus of the Stars
“Since Monteverdi the character of Orfeo has proved to be one of the most popular in dramatic opera libretti. Georg Philipp Telemann’s version for the Gänsemarkt opera house in 1726 presents a sensitive
and yet musically blithe setting of this material. […] The interpretation of Michi Gaigg and her L’Orfeo Barockorchester (nomen est omen) is exemplary: Telemann’s characterization by means of tonality and instrumentation, his knack for sensing and expressing different moods, his delicate treatment of the orchestra, his eclectic mixture of Italian, French and German style, all of this is expressed with care. […]“

Kölner Philharmonie
8 March 2010

Salzburger Kulturtage /
Welser Abonnementkonzerte
27 & 28 October 2009
“Nature and Creation”
Works by J.-F. Rebel, A. Vivaldi and J.-Ph. Rameau
Carin van Heerden, recorder
L’Orfeo Baroque Orchestra

Marianne Kierspel, Kölner Stadt-Anzeiger, 11 March 2010
“The L’Orfeo Barockorchester demonstrated with their clear articulated playing how Rameau tranferred the Baroque doctrine of affects on gentle elves and rumbling goblins. Vivaldi’s flute concerto “Il gardellino” was a welcome real life scene from nature. The soloist Carin van Heerden used a recorder with glittering sound for the lively entrance of the goldfinch. Bravo’s and encores.”

Reinhard Kriechbaum, DrehPunktKultur, 28 October 2009
“The “Salzburger Kulturvereinigung” has started a courageous initiative: a four part cycle in the large Aula where the audience should learn more about music. The beginning on Tuesday (27 October) turned out to be a lucky strike: the L’Orfeo Barockorchester is known to be top of the list as far as Austrian ensembles for Early Music is concerned. The orchestra can easily be compete with the Concentus Musicus Wien in its technical brilliance. The performing discipline is remarkable, especially obvious at a concert like this evening where the leader Michi Gaigg had to cancel. Thanks to the concert master Julia Huber and the excellent preparation it also worked.
[...] Carin van Heerden held a professorship for recorder at the Salzburg Universität Mozarteum between 1993 and 2004. Vivaldi’s famous recorder concerto “La notte” was placed between the two French Suites and performed with all the necessary refinement and yet without airs. In each bar the special combination of solo playing and close companionship with the orchestra (the soloist is a founding member of the orchestra) was audible.”

Carinthischer Sommer /
Attergauer Kultursommer
13 & 14 August 2009
Joseph Haydn (1732-1809)
Die Schöpfung
capella nova graz &
Domkantorei St. Pölten
L’Orfeo Baroque Orchestra
Directed by: Otto Kargl

Wilhelm Rainer, Kleine Zeitung, 14 August 2009
“L’Orfeo, the internationally highly acclaimed ensemble, consists of specialists for Early Music. With obvious enthusiasm they expressed the colourful musical figures with agility, clarity and transparency without exaggeration. The stars, sun and moon shone as much as the microcosm in detail, all joining forces to praise the Almighty.”

Salzburg Festival
Felsenreitschule, 11 August 2009
Joseph Haydn (1732-1809)
The Creation
Salzburg Bach Choir
L’Orfeo Baroque Orchestra
Les Musiciens du Louvre
Directed by: Marc Minkowski

Michael Wruss, Oberösterreichische Nachrichten, 13 August 2009
“This performance was particularly interesting as far as the size of the unusually large orchestra was concerned, at least in terms of general performance practice. Mark Minkowski combined the L’Orfeo Baroque Orchestra with his own Les Musiciens du Louvre. Both orchestras mixed beautifully, instrumental solos were divided fairly between the ensembles. Minkowski chose exhilirating tempi which made the Creation pass in a wink, making the interval nearly superfluous. A fair amount of tension was created with the short gaps between movements.”

Christoph Irrgeher, Wiener Zeitung, 13 August 2009
“Thundering waves, whispering trees, birdsong, the roaring of lions – all of this is portrayed by the Parisian in delicate but also glaring colours. Not that one would expect less from an orchestra like Les Musiciens du Louvre-Grenoble, combined here with the L’Orfeo Baroque Orchestra. Amazing how few accents come across from the brass and double bass sections. Obviously Minkowski is more interested in the Creation’s gentle and pastoral element in than in it’s sheer power. Not to mention the British way. In the Salzburg Felsenreitschule it was once again heard in the version heard in London, shortly after the Viennese premiere in 1799, in English and already in print.”

Gottfried Franz Kasparek, DrehPunktKultur, 12 August 2009
“Already during the Viennese premiere in 1799 there were 120 instrumentalists and singers on stage. And here we had two outstanding ensembles, Le Musiciens du Louvre-Grenoble and Michi Gaigg’s superbly prepared L’Orfeo Baroque Orchestra, who formed an eloquent symphony orchestra, directed by Marc Minkowski’s fresh and inspired baton. Haydn’s work gleamed in its timelessness and joyfulness. Minkowski showed his love for detail conveying the roaring lions and the crawling worms. He shaped the bold introduction, reminding us of budding Romanticism, smoothly mixing Baroque choral glamour. The somewhat outdated texts make no difference, the music is as brilliant as it was on the first day.”

Oberstdorfer Musiksommer 2009
Opening Concert, Kath. Pfarrkirche St. Johannes Baptist, 31 July 2009
“Paris - London: Following in Joseph Haydn’s footsteps”
Works by J. Haydn, Blasius, Pleyel & J.Chr. Bach
L‘Orfeo Wind Ensemble
Directed by: Carin van Heerden

Klaus Schmidt, Augsburger Allgemeine, 3 August 2009
“[...] the ensemble plays on historical instruments and is an offshoot of the L’Orfeo Baroque Orchestra from Linz. Their approach to the presented works was delicate, colourful and fresh. Even a march with military instruments which Haydn composed for the Prince of Wales in 1792 was played with tongue in the cheek wit.
Haydn’s musical sense of humour seemed to have rubbed down on his pupil Ignaz Pleyel (1757-1831) too. His Partita in E-flat major with five movements was packed with wit in the entertaining interpretation.”

Linz09 Cultural Capital of Europe
Circus, Bergschlössl Linz, 7 & 8 July 2009
Chaos and it’s Elements,
Works by J.-Ph. Rameau, J.F. Rebel and Rudolf Jungwirth
L‘Orfeo Baroque Orchestra
Directed by: Michi Gaigg (Rameau, Rebel), Joanne Leekam (Jungwirth)

Franz Zamazal, OÖ Nachrichten, 9 July 2009
“French Baroque music is often overshadowed in Austria by the music of J.S. Bach. Michi Gaigg’s efforts to bring this music closer to the audience deserve great admiration. Jean-Philippe Rameaus Suite from „Zaïs“ (1748) contains two dozen movements: it is demanding music, expressive, colourful, profound and packed with associations. All these aspects came across clearly: the orchestra played with dedication and concentration. 
[...] In Jungwirth’s orchestral work each movement portrays the four different elements, air, earth, water and fire in a musically modern idiom. The contrasting textures of the movements combined with descriptive motives play an important part in this work. These motives trigger associations and are not necessarily conceived as actual melodies or indications of programmatic ideas. Joanne Leekam safely guided the ensemble with their Baroque instruments through this unknown territory of colours and nuances up to the gentle fading of the fire spirits in the finale. A creative, modern yet intelligible statement. Much applause.”

Norbert Trawöger, DrehPunktKultur, 9 July 2009
“Michi Gaigg and her L’Orfeo didn’t remain on familiar ground as far as era and sound is concerned. Rameau’s lush opulence in his Suite from „Zais“ (1748) turned out to be an aphrodisiac in L’Orfeo’s presentation of the affects, the dance characters and the French orchestral colours. The initial chaos cluster in Jean-Féry Rebel’s Symphonie de danse “Les Élémens” didn’t only shock the audience in 1737…
Also „VIER“ (Four), the brand new symphony by the Upper Austrian composer Rudolf Jungwirth, refers to the four elements. Jungwirth describes a universal event from various perspectives: the sylphs (air elementals) are followed by the gnomes (earth elementals), the undines (water elementals) and the salamanders (fire elementals).
On the first evening the rain hammered incessantly on the tent roof, „disempowering“ the more subtle parts in the music to a certain extent, reminding the audience of nature’s true elements though. The water spirits turned out to be slightly more considerate during the next evening. Jungwirth went to painstaking trouble to enhance the unfathomable spiritual worlds in his work: cosmic puzzles seem to rush by, always flowing, even in their seeming motionlessness, changing between the fascinating colours of flattements on the traversos, hand-stopped natural horns, flageoletts on gut strings and glissandi on the strings of the harpsichord. “VIER” doesn’t only conquer the upper and underworlds but also creates a new world of colours which is formed by the early instruments and the undreamt-of mixture of their colour potentials: this is a symphony which actually transforms an audience by making them hear the singing of a rainbow in the third movement „Undines“. Joanne Leekam directed this premiere with clarity, L’Orfeo followed with obvious pleasure.”

Theater an der Wien, 12. Juli 2009 /
Oberösterreichische Stiftskonzerte
Stift St. Florian, Marmorsaal, 20 June 2009
Joseph Haydn (1732-1809)
Die wüste Insel (The Deserted Island)
Opera in two Acts, Hob. XXVIII:9
(later version of the Azione teatrale L’isola disabitata from 1802)

Dr. Wilhelm Sinkovicz, Die Presse, 14 July 2009
“Pietro Metastasio’s libretto for „Isola disabitata“ (1753) seems like a parody on Defoe’s „Robinson Crusoe“ […] In the Theater an der Wien Michi Gaigg and her L’Orfeo Baroque Orchestra presented the German version by Johann O.H. Schaum whose involuntary humour was presented here with noble wit by an exquisite ensemble of singers […] Barbara Kraus played her part with a lot of humour and fun while Nuria Rial presented her immacculately beautiful voice […] The L’Orfeo Baroque Orchestra accompanied with enthusiasm and with the finest awareness of all details concerning historically informed practice. Michi Gaigg is obviously up to date with the latest research [… ].”

Marion Eigl, Wiener Zeitung, 14 July 2009
“[…] The L’Orfeo Baroque Orchestra acted as a perfect conveyor of the various moods portrayed by the individual characters. Special mention should be made of the excellent horn players. […].”

Christine Grubauer, Neues Volksblatt, 22 June 2009
“Michi Gaigg, a conductor much in demand, has been performing at international festivals with her L’Orfeo Baroque Orchestra since 13 years now. On Saturday night she presented a musically as well as stylistically highly successful concert performance of Haydn’s „Wüste Insel“ at the Abbey of St. Florian. Four young soloists contributed substantially to this extraordinary concert: Ulrike Hofbauer as Constanza and Barbara Kraus as Silvia (both sopranos), Christian Zenker (tenor) in the role of Fernando and Reinhard Mayr (bass) as his friend. They performed with differentiated nuances and conveyed the sensitive love story with clear diction, especially in the recitativos. The audience, gathered together in the marble hall of the Abbey, was deeply moved by this musical gem.”

Franz Zamazal, OÖ Nachrichten, 22 June 2009
“[...] The conductor Michi Gaigg presented a vivacious, highly convincing and sound performance in St Florian’s marble hall [...] The instrumental part, including some demanding solos, was superbly played by the experienced L’Orfeo Baroque Orchestra. The excellent vocal quartett consisted of clean, beautifully virtuosic voices: the two sopranos Ulrike Hofbauer and Barbara Kraus, the noble tenor, Christian Zenker, and the confident and powerful bass Reinhard Mayr.”

Balduin Sulzer, OÖ Kronenzeitung, 22 June 2009
“Magical Haydn opera, „Der wüste Insel“ at the Abbey concerts: The audience on Saturday was carried away by the concert performance in the marble hall of the Abbey of St Florian [...] Enthusiastic applause!”

25. Tage Alter Musik in Regensburg
Alte Kapelle, 28 & 29 May 2009
W.A. Mozart, Symphony no. 36 C-Dur K. 425 “Linz”,
High Mass in c minor K. 427
Regensburger Domspatzen
L’Orfeo Baroque Orchestra
Directed by: Domkapellmeister Roland Büchner (K. 427), Michi Gaigg (K. 425)

Gerhard Dietel, Mittelbayerische Zeitung, 1. Juni 2009
“The musical upbeat to the festival turned out to be as brilliant as the spotlights. The festival’s anniversary was lent a festive character with Mozart’s „Linzer Sinfonie“ even though this majestic work includes painful chromatic turns. The wind players dominated in this interpretation by the L’Orfeo Baroque Orchestra while the strings, true to their historic models, remained especially slim. Michi Gaigg directed the orchestra as concert master from the first desk: the first movement was exuberant, the finale refreshing and in the middle a rather slow Andante.”

Graz, Styrian Musikverein, 21-23 March 2009
Gioachino Rossini, Il signor Bruschino
L’Orfeo Baroque Orchestra
Directed by Michi Gaigg

Reinhard Kriechbaum, Concerto, April/May 2009 / DrehPunktKultur, 26 March 2009
“It is always a worthwhile experience to hear Rossini on original instruments. Michi Gaigg and the L’Orfeo Baroque Orchestra have recently also dealt with dance music. The acquired lightness is a very welcome attribute to their approach to opera. They allow such flexibility in tempo that the singers can afford to concentrate fully on their texts. Michi Gaigg allows the music time to breathe, accompanying figures are molded generously and every vocal ornament is reflected by the instrumentalists.”

Hansjörg Spies, Kleine Zeitung, 22 March 2009
A feast for the ears and eyes. “Michi Gaigg’s L’Orfeo Baroque Orchestra lithely carries the singers over any potential barriers. Olga Peretyatko (Sofia), an experienced singer from the Festival in Pesaro, is a coloratura soprano providing a feast for the eyes and ears. The Columbian Kirlianit Cortés (Fiorville) is well on his way to become a fullblooded Rossini tenor. The role of Gaudenzio was taken by David Park. Josef Pepper (Filiberto), a Graz student, provided a voluminous bass. A fair portion of humour and vocal bravura was provided by Vladimir Chernov in the role of Signor Bruschino. A feast!

Linz, „Alte Musik im Schloss“
by courtesy of the Anton Bruckner Private University, 17 March 2009
Works by Fils, Rosetti, Rossini and Mozart
Carin van Heerden, Oboe
Directed by Michi Gaigg

Dr. Franz Zamazal, OÖ Nachrichten, 18. März 2009
“
The concert series „Alte Musik im Schloss“ returned for their Tuesday concert to the Bruckner University, the venue where the idea for these concerts was conceived of at the time by its initiator Prof August Humer.
The most recent concert with the famous L’Orfeo Baroque Orchestra under the inspiring direction of Michi Gaigg intended to confront students from the university with the internationally acclaimed orchestra, presenting a programme encompassing a musical time journey of 50 years through Europe. The addressed audience made generous use of the offer. The programme included representative works from 1760 to 1810: an original symphony by Anton Fils, an oboe concerto by Anton Rösler alias Antonio Rosetti with the wonderful soloist Carin van Heerden, a highly spirited Rossini Overture and finally Mozart’s ingenious A major Symphony KV 201.

Exhilirating drive
The ensemble presents itself as an artistic unit, fulfilled with great musicality and virtuosity. It provides robust fortes, subtle moments and if necessary exhilirating drive. In fact, these characteristics describe the quality of this renowned orchestra.”

20. Internationale Haydntage, 8. September 2008
Eisenstadt, Schloss Esterházy, Haydnsaal
Joseph Haydn, Sinfonien Nr. 81 & 91, Arien für Luigia Polzelli
mit Nuria Rial, Sopran

Heinz Rögl, Salzburger Nachrichten, 10 September 2008
“[...] a Festival highlight [...]
This young orchestra, founded by Michi Gaigg in 1996, once again proved its excellence in the performance of two big Haydn Symphonies (Nr 81 and 91). The boldness and originality of these works put them on a par with Haydn’s greatest works. The expression and differentiation with which the orchestra conveyed Haydn’s sometimes surprising yet strict counterpoint, his contradicting ideas and his delightful musical sense of humour deserves the highest merit.? Amazing how different the first violins (only four of them) can sound in the high and sonorous low ranges, how nimble and precise their performance, how beautiful the balance between strings and excellent wind soloists.”

Gluck-Opernfestspiele Nuremberg, 12 March 2008:
Works by Christoph Willibald Gluck, Georg Christoph Wagenseil, Antonio Vivaldi and Joseph Haydn

Martin R. Handschuh, Österreichische Musikzeitschrift, May 2008
“[...] This could only be topped by the L’Orfeo Baroque Orchestra in the concert at the Business Tower of the Nuremberg Insurance Company: Under Michi Gaigg’s direction a firework of historical performance was ignited, including two Symphonies by Gluck and works by Vivaldi, Wagenseil and Haydn. [...]“

donauFESTWOCHEN 2007: Georg Anton Benda, Romeo und Julie

Hans-Jürgen Becker, Concerto, October/November 2007
“L’Orfeo, directed by Michi Gaigg, was convincing with their balanced string sound, incredibly light woodwind sound, sensitive traversos, beautiful oboe solos and a fine sense for cantabile lines […].”

Die Presse, Vienna, 8 August 2007
“… musical director and conductor, Michi Gaigg, and her L’Orfeo Baroque Orchestra introduce the Sturm and Drang composer Benda with sufficient sensibility and colourful freshness, bringing back to life this exquisite work. This is enthusiasm which we also hear on the newly released CD with works by J.C.F. Fischer. …”

Wiener Zeitung, 7 August 2007
“… Once again the Donaufestwochen in Strudengau presents an interesting rarity: Benda’s work was first performed in 1776, it is inventive in the instrumentation, stylistically versatile and it contains an effective lamento… But it only becomes moving when treated with appropriate finesse. This is definitely the case with the L’Orfeo Baroque Orchestra under Michi Gaigg and with Barbara Kraus, Julie in this production. … She sings the lyrical passages with warmth and the coloraturas with easy musicality. …”

Opening concert of donauFESTWOCHEN 2007: L’Orfeo Wind Ensemble - directed by Carin van Heerden

Oberösterreichische Nachrichten, 30 July 2007
“Music for a summer night”
The donauFESTWOCHEN were opened in the picturesque inner courtyard of the castle Greinburg … members of the (L’Orfeo) Baroque Orchestra, directed by Carin van Heerden, played classical Harmoniemusik on original instruments. The long lost great tradition of an ensemble consisting of 2 oboes, 2 clarinets, 2 horns and 2 bassoons was once again revived. […] The whole thing was done with great esprit and, as one might have put it in those days, delighted the guests extraordinarily.”

L’Orfeo’s tenth anniversary

Schweizer Radio DRS 2
“The L’Orfeo Baroque Orchestra brings back forgotten treasures from the Baroque and Classical eras on stage. They present it on original instruments with zest. In fact, sturm und drang seems to be the motto of their performance and their repertoire. The orchestra is ten years old now, based in Linz and, among others, specializes on Austrian, Bohemian and South German music.”

Christmas Oratorio 2006 with the Tölzer Knabenchor
Philharmonie Essen (11 Dec.), Philharmonie Köln (17 Dec.), Bielefeld (18 Dec.),
Herkulessaal München (22 Dec.)

Neue Ruhr Zeitung, 14 December 2006
“This was pure enjoyment! The timbre of the boys’ choir mixed beautifully with the historically gentle sound of the L’Orfeo Baroque Orchestra. The orchestra contributed with wonderful solistic colours in the arias and a lovely atmosphere in the pastoral music of the second cantata.”

Kultur in Essen, 14 December 2006
“Those who weren’t there missed out!”

Kölner Stadtanzeiger, 19 December 2006
“… beautifully supported by the L’Orfeo Baroque Orchestra, one of the finest experts on historically informed performance practise.”

Westfalen-Blatt, 20 December 2006
“The L’Orfeo Baroque Orchestra on historical instruments presented itself ingeniously: subtle affects, fine continuo playing, excellent solo’s. The list could be extended endlessly…”

Neue Westfälische, 21 December 2006
“… an excellent orchestra.”

International Press

Online Musik Magazin (www.omm.de)
“… L’Orfeo proved that it should be counted among the very best Baroque orchestras today. The excellent string playing, the perfect blend of the winds, this is probably insurpassable.”

Musical View Prague
“The ensemble’s precise rendering deserves the highest praise.”

Fanfare, USA
“Excellent band, excellent sound.”

Die Burger, Cape Town
“The audience’s initial reaction was remarkable: it was clear that everyone was sitting on the edge of their chairs. The finely defined articulation and sensitive phrasing was heard and highly appreciated. It is the small things which make the difference: the odd agogocal accent here, the flawless technique there. The musicians are so flexible and intuitive that Michi Gaigg is able to lead them with the smallest gesture.”

“A Mozart Triad”, Oberstdorf, Schloss Kammer, Stift Waldhausen, Villach, 28 - 31 July 2006

Neue Kronenzeitung, 1 August 2006
“It isn’t common to sense the exhiliration of a musical adventure as vividly as with Michi Gaigg’s L’Orfeo Baroque Orchestra. An incredible artistic feast!”

Neues Volksblatt, 1 August 2006
“Typical for the way in which Gaigg leads her orchestra on original instruments is the exquisitely homogenous string sound combined with sensitive winds.”

Requiem settings by Michael Haydn and W.A. Mozart, Milano, Santa Maria della Passione, 2 May 2006

Corriere della Sera, 5 May 2006
“…one of the most original and informative concerts of this year’s concert season in Milano. And definitively the most profound contribution to this year’s Mozart anniversary…a truely fascinating contrast…”

Anniversary concert “50 Years DRS 2″ (Swiss Radio), Liestal, Switzerland, 28 March 2006

Basler Zeitung, 31 March 2006
“The audience was grateful for a thrilling evening at the highest standard, reflecting the contrasts of this exciting period.”

Berner Zeitung, 30 March 2006
“Carin van Heerden moved theaudience with great virtuosity, especially in the fast passages, and melodic transparency. The orchestra accompanied with care and competence, leaving her enough space to celebrate solo passages.”

Lange Nacht der Alten Musik, Germanisches Nationalmuseum Nuremberg, 18 March 2006

Nürnberger Zeitung, 20 March 2006
“The instrumentalists sensed Josef Myslivecek’s melodic eros in his “Romolo ed Ersilia” Ouverture and presented it with sheer temperament and highly differentiated playing. “

Tage alter Musik Regensburg, 16 May 2005

Online Musik Magazin (www.omm.de)
“The Austrian orchestra and its leader Michi Gaigg (violin) started the concert with Johann Sebastian Bach’s first Orchestral Suite. Here, and also after the interval with the fifth Brandenburg Concerto L’Orfeo proved that it should be counted among the very best Baroque orchestras today. The excellent string playing, the perfect blend of the winds, this is probably insurpassable.”

St. John’s Passion 2005 (Collegium Vocale Salzburg, L’Orfeo Barockorchester, Ltg. Michi Gaigg)

Die Presse, Vienna, 29 March 2005
“… Michi Gaigg, her L’ Orfeo Baroque Orchestra and the Collegium Vocale Salzburg presented an expressive performance, underlining the drama with dissonances …”

DrehPunktKultur (Salzburger Kulturzeitung), 29 March 2005
“… moved to tears …”

Salzburger Nachrichten, 25 March 2005
“… clear musical vocabulary and strong expression …”

Stuttgart Barock 2004

Stuttgarter Zeitung, 27 April 2004
“The pleasure was completed by the highly differentiated play of the L’Orfeo Baroque Orchestra under Michi Gaigg. Even Mozart’s first symphony was elevated to the nobility of a masterwork by this ensemble.”

Schwetzingen Festival 2003:
Il figlio delle selve, opera by Ignaz Holzbauer (1753) & orchestral concert “Mannheimer Schule” with works by Holzbauer, Fils, Dimler, Rosetti and Wagenseil

Die Welt, Berlin, 3 May 2003
“The fact that some of the Holzbauer arias were deeply moving also had to do with their outstanding and uncompromising interpretation by the L’Orfeo Baroque Orchestra under Christoph Spering.”

Das Orchester, 09/2003
“The highly virtuosic L’Orfeo Baroque Orchestra from Linz, playing on historical instruments, missed no chance to accentuate the contrasts between stunning and driving dramatics and lyrical contemplation.”