An inimitable pomposo.
Neue Zürcher Zeitung
L’Orfeo Baroque Orchestra performs with its customary precision and energy.
Fanfare Magazine (USA)
One of the most exciting Baroque ensembles that our neighbouring country Austria can boast is the L’Orfeo Barockorchester, founded in Linz in 1996. Directed by the Baroque violinist, Michi Gaigg, this ensemble has moved into the front row of the European Early Music scene.
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
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.
Or put is as an understatement, Dorothee Mields and the L’Orfeo Barockorchester, directed by Michi Gaigg, simply make good music [BACH].
This [TELEMANN: Overture-suites] is a must for all baroquophiles! Moments of wonder, wistfulness and elegiac tenderness wrapped in entrancing music. Probably my CD of 2020, heart on the sleeve, hand on the heart.
Early Music Review
Superb debut with MOZART in the ELBPHILHARMONIE HAMBURG:
Behle surprised, mesmerized and moved the audience in close dialogue with the L’Orfeo Barockorchester directed by Michi Gaigg […] It more resembles vocal chamber music than arias with orchestral accompaniment. Needless to say it only works with an instrumental ensemble as wide awake and flexible as the L’Orfeo Barockorchester. Straight from the beginning, in the Overture to Don Giovanni, it is obvious how conductor Michi Gaigg’s temperament radiates the whole ensemble […].
Gaigg resurrects the young Mozart’s Metastasio project. 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 in the wunderkind’s astonishing development.
What impresses me is that Michi Gaigg makes me hear a new SCHUBERT through her own individual interpretational style.
Radio SRF 2 Kultur (Swiss Radio)
„Queen“ Michi Gaigg on the dance floor: RAMEAU at his best!
Toccata (magazine for Early Music), CD of the month
The bottom line is that decades of experience with this kind of music inevitably leads to the Pantheon of Rameau interpretations.
CONCERTO – Das Magazin für Alte Musik, Olaf Krone
Résumé: One of the best productions of French baroque music. A case for the opera composer Rameau […]. Absolutely recommended!
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
TELEMANN touches the sublime. […]. A delight from start to finish. [CD with Dorothee Mields]
BBC Music Magazine
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 the Year 2017
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 (Swiss Music & Theatre Magazine)
Its performance instantly announces the superior period-instrument playing of L’Orfeo Barockorchester under Michi Gaigg, with characterful string tone and a wide range of dynamics and colour all finely captured in this recording [Schubert]: wind, brass and timpani, too, are interpretatively and sonically vivid. […] Worthwhile discoveries, marvellously performed.
BBC Music Magazine
Michi Gaigg manages to strike theatrical sparks in this challenging yet static oratorio [MOZART: Betulia liberata] with the brilliant L’Orfeo Barockorchester.