BerlinBaroque Pressestimmen


Oppelt's new orchestra "Berlin Baroque" is stunning. [...] Either everyone on the stage are genii or Oppelt himself, whose temperamental conducting is a joy to watch, must be an exceptional talent. Where should one start with due praise? [...] Oppelt's interpretation is of amazing originality. No bouncing rhythms but rather large-scale veils of sound instilled with instrumental colour and sharply delineated rhythmic individuality. Boris Kehrmann in "Der Tagesspiegel"


In the series "Ten Years On" the audience celebrated the performance of the Monteverdi Choir and the ensemble Berlin Baroque. Within six years the church musician Gerhard Oppelt has developed a semi-professional choir and a solid Baroque orchestra performing on historical instruments which is very worth hearing. Concert tours have taken the perfectly harmonising ensembles for Early Music as far as Damascus. [...] The trump card of this celebratory concert is the finely tuned Monteverdi Choir. Their homogenous, warm sound is impressive. Martina Helmig in "Der Tagesspiegel"


An interesteing excavation: Attilio Ariosti's Baroque opera "La fede ne' tradimenti" (Faith in Betrayal or Fidelity in Betryal? According to my knowledge the Italian can mean both but of course there is a huge difference in meaning!!) celebrated its acclaimed premiere in the former Freie Volksbuehne. This new production was initiated by the Berlin Akademie fuer historische Auffuehrungspraxis for the Year of Prussia. [...] Apart from all the beauty inherent in the music of Sophie Charlotte's senior court musician Ariosti (1697 - 1703) it is further, on the one hand, lyrically dancelike and, on the other, just plain vivacious. Berlin Baroque, performing on historical instruments and conducted by Gerhard Oppelt, made magical music. Klaus Klingbeil in "Westdeutsche Allgemeine"


Alexander Steinhilber's edition of the Acht deutschen Magnificat is of exactly the same high standard as Schmelzer's Missa. The layout is well-proportioned, the page turns are almost always where they should be and the print and paper quality is beyond reproach. Andreas Waczkat in "CONCERTO - The Magazine for Early Music"