Press Reviews

Monteverdi: Vespro della Beata Vergine

…The great praise begins with the chorus’s Latin/Italian-led speech conduct, the sound qualities of
which could always be admired. For in the brilliant tutti cast as well as in small groups and even in
echoes one was amazed at the choral moments of the performances. The relatively small number
of baroque instruments added up with only four strings, a lute, a harp, a harpsichord, but then with
four to six brasses and woodwinds to a balanced sound volume. With two sopranos (Christina
Andersson and Cornelia Horak), two tenors (Tore Tom Denys and Erik Leidal) as well as two
basses (Matthias Helm and Ulried Staber), specialists in coloratura singing and virtuoso sound
design could be heard. With this memorable performance at the Brucknerhaus, the entire
ensemble and especially Heinz Ferlesch succeeded in creating a deeply sacred mood. After the
anniversary of the Magnificat and the artistic „Amen“, tremendous cheering erupted justifiably in
the large hall.

„Volksblatt“ from 25.3.2019, Christine Grubauer

….This fascinating work from the period of upheaval from the Renaissance to the Baroque was
highly inspiring to experience in its entirety in the Sunday Matinee in the Brucknerhaus. Heinz
Ferlesch chose ideally suited soloists for his undertaking with Christina Andersson and Cornelia
Horak (soprano), Tore Tom Denys and Erik Leidal (tenor) as well as Matthias Helm and Ulfried
Staber (bass) and was also able to rely on the best of their trade in his Baroque sound ensemble
Barucco, as he relied on a purely solo instrumentation which nevertheless managed to unfold great
sound splendour. The Ad Libitum Choir was also able to translate their conductor’s vocal and
interpretative visions into tonal reality. Conclusion: A Monteverdi morning that rightly made the
audience jump from their seats and cheer loudly. Monteverdi so naturally, as if the music had only
been composed yesterday.

„Oberösterreichische Nachrichten“ from 25.3.2019, Michael Wruss

G.F. Händel: Alexander’s Feast

The selection of the work turned the opening of the Attergau Summer of Culture into a celebration:
Händel’s „Alexanderfest“ for soloists, choir and orchestra, situated between opera and oratorio,
united the colourfulness of the original Baroque sound with the splendour of human voices. It was
about the event with which Alexander the Great celebrated fame over the Persians, the lover of
Thaï at his side. „This is how love was crowned, but music won the victory“, is one of the key
phrases of those tones which, according to John Dryden, were intended to strengthen Händel’s
work in England in honour of St. Cecilia. This became the main message of the intensive musical
activity of the Barucco Ensemble and the Ad Libitum Choir under the skilful direction of Heinz
Ferlesch. The unimpeachable validity of the music and the unifying qualities of everything that
divides us are sublime and lasting; an attitude that brings consolation and courage in every time of
life and on earth. Joy, pride, sorrow, compassion and love were skillfully played emotions: Händel
created them through an instrumentation that went beyond the usual, extended by flutes, oboes,
bassoons, horns, trumpet and continuo. Daniel Johannsen (tenor) and Matthias Helm (bass) told
the story in a winning way; small uncertainties in the correspondence with the orchestra can be
ignored in view of the overall impression. A class of her own was Cornelia Horak (soprano): her
deep mourning song around falling tears made time stand still, her tender and emotional tones in
the heights of love made hearts rise. Conclusion: The differentiated vital ensemble Barucco under
Heinz Ferlesch and his choir Ad Libitum singing in euphony knew how to let Händel’s music sound
in the best Baroque manner. Among the solo voices, Cornelia Horak’s emotional soprano should
be highlighted.

„Oberösterreichische Nachrichten“ from 23.7.2018, Karin Wagner

… Praiseworthily, the conductor Heinz Ferlesch took care of this essential choral work with his
excellent choir ad libitum. The baroque orchestral accompaniment with „Barucco“ is equipped with
a string sound firm to the saddle and magnificent natural horns, trumpets, trombones and timpani.
In English, John Dryden, an important poet of English classicism, succeeds in creating the basis
for this composition, which is neither oratorio nor opera, has no real highlights, but nevertheless
unites elements of both genres. Thus, a musically pompous celebration succeeds which Alexander
the Great gives on the occasion of the conquest of the city of Persepolis and which puts wonderful
arias with different statements, joy, sublimity, compassion and love into the mouth of the Greek
singer Timotheus. The well-chosen soloist trio with the dramatically cast Cornelia Horak (soprano),
the coloratura-smooth Daniel Johannsen (tenor) and a well-founded Matthias Helm (bass), offers
great vocal artistry to the descriptions of the feast, until the world of antiquity sinks and „Cäcilia“,
the saint, appears to lead the power of music to heavenly heights. In the fully occupied church
there was much admiration for all participants and warm applause for the good start of the
Attergauer Kultursommer.

„Volksblatt“ from 22.7.2018, Christine Grubauer

J. S. Bach: Christmas Oratorio

There is probably no great choral work that can be heard so often at this time of year as Johann
Sebastian Bach’s „Christmas Oratorio“. … The choir Ad Libitum presented itself well prepared by
conductor Heinz Ferlesch and impressed with its admirable virtuosity. Heinz Ferlesch conducted
with a great liveliness. Even the meditative resting points were fully enjoyed. Everything was finely
articulated, in rhetoric and gestures harmonious and in a clear language. Not only the experienced
choir was a bright joy, also the ensemble „Barucco“ played at a high level. Despite its slender
sound, the ensemble was always able to harmonize with the choir, and an exuberant Christmas joy
was conveyed. And the soloists must not be forgotten. They were a delight: Elisabeth Wimmer
(soprano), Daniel Johannsen (tenor), Julie Comparini (alto) and Matthias Helm (bass). They all
conveyed the birth story with unbelievable ease. „Jauchzet, frohlocket“ is the title of the graphically
excellently prepared program. One was allowed to carry this message after an extensive ovation.

“ Niederösterreichische Nachrichten“ 50/2017, Leopold Kogler

Monteverdi: Vespro della Beata Vergine

A great moment for Monteverdi’s Vespers. Minutes of standing ovations for the Ad Libitum Choir
and the Ensemble Barucco under Heinz Ferlesch in Langenhart. Claudio Monteverdi had much in
store for his Vespro della Beata Vergine, composed between 1607 and 1610. He dedicated his
work to Pope Paul V and hoped for the benevolence of the Holy See in the form of commissions.
Nothing came of this, or of the hope of having written a much-played work. Even today, the Vespro
della Beata Vergine is rarely performed. This is due to the fact that the composer’s creation is
regarded as extremely demanding for soloists, choir, musicians and conductors. First of all: the
performance was an unqualified success, it became a great moment for this work. The lengths
attached to the composition were defused with choreographic elements, Heinz Ferlesch scraped
off the piece’s patina, leading his choir with karate strokes into fulminant forti and then bringing it
back with gentle wave movements into tenderly interpreted passages. Under Ferlesch, the choir,
founded in 1993, has risen to become one of the best in Austria; this Vespro della Beata Vergine
provided further proof of this. The conductor and overall leader also demonstrated competence
and skill in the selection of the musicians. The organist Anne Marie Dragosits, the young Theorb
player David Bergmüller and the Zinkenists Bork-Frithjof Smith, Gebhard David and Matthijs
Lunenburg, who have world-class format on their instruments, should be emphasized here. Tom
Deny’s tenor Tore stood out from the crowd of vocally confident soloists. The trained concert
trumpeter mastered the difficult part with his warm timbre. At the end the audience’s minutes-long
ovations were – logically – standing.

„Oberösterreichische Nachrichten“ from 28.6.2016, Helmut Atteneder

J.S. Bach: St. Matthew Passion

A brilliant performance by the Ad Libitum Choir under the expressive conductor Heinz Ferlesch at
the Brucknerhaus in Linz with J. S. Bach’s „Matthäuspassion“. The soloists Josef Wagner, Terry
Wey, Maria Erlacher, Robert Sellier and Günther F. Groissböck present themselves artistically in all
pitches with a firm saddle and extremely pure intonation. Johannes Chum must also be named as
an outstanding evangelist. The St. Florian Boys Choir also scored well with their fine voices. The
Baroque Orchestra Barucco reacted to every hint by Heinz Ferlesch, no matter how small: a troupe
making delicate music!

„Kronen Zeitung“ from 19.04.2014, MC

There was much applause on Maundy Thursday for a St. Matthew Passion performed at the
Festival Passion in the Brucknerhaus with the Ad Libitum Choir and the Baroque Ensemble
Barucco under its founder and conductor Heinz Ferlesch. Bach’s double-choir masterpiece,
although played on historical instruments, appeared in a very lavishly beautiful sound, and the
focus was more on an intimate emotional reaction to the events presented than on a suspenseful
portrayal of the dramatic score. … Heinz Ferlesch has modeled the chorales in a highly interesting
way, sometimes setting quite surprising accents, the tempo being fluent… … The smaller solo parts
were predominantly ideally cast from the choir. The Baroque Orchestra Barucco also offered a very
convincing performance, approaching the matter with warmly tinted sound, finely played solos and
overall highly precise and clean phrasing. A St. Matthew Passion, which was very appealing from
the basic conception, reduced the dramatic somewhat, but offered all the more emotion….

„Oberösterreichische Nachrichten“ from 19.04.2014, Michael Wruss

The Holy Week Passion Festival ended on Maundy Thursday in the sold-out Brucknerhaus Linz
with a grandiose, more than three-hour rendition of J. S. Bach’s St. Matthew Passion …. Heinz
Ferlesch chose experienced interpreters for the performance and offered not only a stylish but also
a dramaturgically thought-out interpretation. …At the end of the story of sorrow, the general mood
of mourning lay over the hall and led to enthusiastic applause.

„Neues Volksblatt“ from 19.04.2014, Georgina Szeless

The King Arthur Seance – On Henry Purcell’s Shoulders

The original sound ensemble Barucco under the direction of Heinz Ferlesch and the Chamber
Choir of the Vienna Singakademie came to the Brucknerhaus with an interesting mixture of old and
new music. Actor Karl Markovics was the reading designer and at the same time the dramatic actor
of a diary story whose content showed apocalyptic visions of the future… The music consists of
fragments of a musical play by Henry Purcell called „King Arthur“ – at first wonderful arias and
ensemble songs can be heard in a well-known baroque manner…. Composer, author and radiomaker
Helmut Jasbar allowed himself a new interpretation with contemporary elements from the
field of serious music and electronics as a supplement to the music of the present day. The timbres
of soundscapes, the wonderfully sounding choir, soloists and the baroque orchestra with original
instruments united in a new, captivating way – to gradually changing sound impressions. The
listener floated back and forth between Henry Purcell and electronics – surprised by new sounds
every moment.

„Neues Volksblatt“ from 23.01.2014, Christine Grubauer

…And yet the inner doubt moved the audience. But this was also due to the unbelievably precise
and at the same time flexible original period ensemble Barucco, the famously beautiful singing
Vienna Singakademie Chamber Choir and Heinz Ferlesch, who impressively staged Jasbar’s
sound installations…

„Oberösterreichische Nachrichten“ from 23.01.2014, Michael Wruss

…Performers were the style-correct original period ensemble “Barucco“ conducted by the
outstanding Heinz Ferlesch, the chamber choir of the Vienna Singakademie, admirable in its
intonation, articulation and dynamics, as well as an exquisite vocal soloist quintet. In addition there
was Karl Markovics, a speaker who alternated between simple referencing and dramatically
erupting and even explosively loud, unfortunately not always clear text though. Helmut Jasbar’s
composition turned out to be a surprisingly problem-free combination of baroque and modern
elements, which were skilfully effective with ornamental, virtuoso and electro-acoustic factors…

„Kronen Zeitung“ of 23.01.2014, Balduin Sulzer

…Heinz Ferlesch led the Ensemble Barucco with sovereignty, even where he had to take the
recorded tapes into consideration in an aggravating way. The ensemble delivers authentic baroque
sound and is not irritated by Jasbar’s modern interjections. The chamber choir of the Vienna
Singakademie convinces with baroque chorales as well as with screaming and whispering effects…

„Die Presse“ from 20.01.2014, Stefan Posch

Much applause for J. S. Bach’s Mass in the Land of Choirs

The powerful „Chor Ad Libitum“ gave an impressive performance of J. S. Bach’s „Mass in B Minor“
at the Brucknerhaus under the direction of Heinz Ferlesch. This work places enormous demands
on the performers. Since these were met convincingly and effectively, the choir is to be given an
excellent testimony. The ensemble is beautiful in sound, precise and with outstanding certainty
also in the high register, it is based on a balanced ratio of young female and male voices. Even an
eight-part movement in complicated counterpoint and choir fugues is mastered effortlessly.
Equipped with these qualities, the result was a „building“ that brought joy, sorrow and an
abundance of moods from solemn hymn to lamentation of the dead. The conductor provided a
lively, excellently phrased and extremely clear „anti-Romantic“ interpretation. The soloists
conveyed their demanding parts, peppered with coloratura, clearly and pleasantly: Maria Erlacher
and Simone Vierlinger (sopranos), Markus Forster (alto), Michael Nowak (tenor) and Matthias
Helm (bass). In order to come as close as possible to the sound of the music of the time, the
„Original Klangensemble Barucco“ played, which is relatively small compared to the choir. For the
singers, it performed the often tricky solo tasks in the best possible way, with „old“ wind
instruments and timpani. A performance thanked with much applause.

„Oberösterreichische Nachrichten“ from 25.11.2013, Franz Zamazal

Festive, in tempo, articulation and volume shaping at times overwhelming, Bach’s Mass in B minor
succeeded on the occasion of an AK-Classics concert in Linz’s Brucknerhaus. The „Chor ad
libitum“, which is well known in the region of St. Valentin/Enns and sought after for its oratorical
qualities, was performed in top form by conductor Heinz Ferlesch, who is recognised worldwide as
artistic director of the Vienna Singakademie. Together with the original period ensemble „Barucco“
and a vocally and stylistically perfect vocalist solo quintet, this evening became an enthusiastically
acclaimed musical event.

„Kronen Zeitung“, 24.11.2013, Balduin Sulzer

Brilliant finale Under the direction of Heinz Ferlesch in the parish church of Langenhart, the
excellently disposed choir „Ad Libitum“ provided a worthy finale to the 20th anniversary with an
impressive rendition of J.S. Bach’s „B minor Mass“. Not many conductors dare to perform this
masterpiece because of the great challenge it poses, and because of the variety of musical forms
and styles, they are deterred from doing so. But the Ad Libitum Choir has been familiarised with
Bach’s last choral work for half a year now, so that the vocal chords were quite loose and the
singing led to a brilliant overall result. The performance of the Ad Libitum Choir’s B minor Mass with
the Barucco Orchestra and a brilliant host of soloists provided a deeply touching and moving
musical experience. The Mass with its self-contained vocal cycle and the extraordinary
expressiveness, the special inner life with its tensions, breaks and only apparent unevenness
became a total work of art by the musicians, true masters of their trade. The wonderful contrasts
corresponded to a music of particularly attractive dramaturgy. Thanks to the brilliant sound culture
of the choir and the ensemble, many nuances could be enjoyed. An impressively brilliant church
music concert.

„NÖ- Nachrichten“ from 25.11.2013, Leopold Kogler

Overwhelming sound culture ….The greatest praise is due to the choir, which with overwhelming
sound culture, finely dosed dynamics and impressive intensity realized the animating signs of its
conductor. In addition, the vital and sound transparent Ensemble Barucco convinced with their
original period instruments, great adaptability and beautiful sound. The soloist ensemble was also
well chosen: Maria Erlacher equipped with a crystal soprano; Simone Vierlinger with a sonorous
mezzo; Markus Forster as a smooth alto; Michael Nowak with an accurate, beautiful tenor voice. In
addition, Matthias Helm played an elegant bass. The „Dona nobis pacem“ at the end had to be
repeated because of the great jubilation in the audience.

„Neues Volksblatt“ from 19.11.2013, Christine Grubauer

Solomon in the Brucknerhaus

…The performance stood on firm ground, the choir Ad Libitum, which proved to be vocally,
linguistically and intonationally great. The second pillar was the Barucco ensemble, which
impressed with its sensitivity and beauty of sound. Finally, the third pillar was formed by the singer
quintet, first and foremost by Rupert Enticknap, who was convincing through his vocal presence
and his clear, stylistic comprehension of the baroque ductus as countertenor in the form of Solomo.
The soprano solos were in good hands with Andrea Lauren Brown, with her lively, sensitive
singing, and with Comelia Horak, whose dramatic voice was particularly appealing to the scene of
„Solomon’s judgement“. The role of Zadok, as it were the unifying narrator in the oratorio, was
clearly and musically played by Michael Feyfar. Martin Hensel was able to convince vocally with
recitatives and arias as bass. The supporting pillar, however, was and is conductor Heinz Ferlesch,
who directed and designed the performance with clear signs and great personal commitment.

„Neues Volksblatt“ from 03.12.2012, Kurt Lettner

Exciting „Solomon“ …With homogeneous sound and precise rhythmic certainty, the group of
singers from the Ad Libitum choir followed their mentor Heinz Ferlesch, who chose impulsive
tempos, but also savoured the lyrical phases. The Ensemble Barucco played a large part in the
exciting realization on its period instruments. The enthusiasm of the audience was enormous…

„Kronen Zeitung“ from 03.12.2012, Fred Dorfer

The highly individualized mastery of biblical parameters by the „Chor Ad Libitum“ and the „Original
Klangensemble Barucco“ under the conductor Heinz Ferlesch opens up perspectives of spiritual
unity. In the constant juxtaposition of the high and low choral passages, the different timbres
become a loosening overall impression, which is particularly reflected in the women’s voices in
idiomatically refined English. It cannot be overheard that the orchestral sound is obscured by the
choir, but the organist and the double bass play the ariosi and the accompagnato recitatives
excellently in alternating dialogue. In the formal symbolism of progress, the praises of the soloists
become the unifying humanity. Cornelia Horak is a sensitive soprano in all registers with
coloraturas flowing in the same direction and fine trebles, Markus Forster gives a solemn recitation
tone with his cultivated altus, Virgil Hartinger is an all too exposed tenor and Matthias Helms sings
the bass solos well, but with the men it is noticeable that the (English) vowels do not always have
their own eigenvalues. The choir with the surprisingly piano-sung „Halleluja“ is grandiose, and it is
precisely with this Heilsbringer hit that it becomes apparent how good the orchestra and choir are
in harmony….

„Dolomiten“ from 21.08.2012, C.F. Pichler

Corinthian Summer

Acclaim for a perfect Handel performance of magical sparkling sounds. … Especially the
performance of the conductor: Heinz Ferlesch knew how to network the often excellent ensembles
he founded in 1993, namely the original period ensemble Barucco and the choir Ad Libitum, with
the equally outstanding vocal soloists for a sparkling sound event. Unpretentiously, precisely and
animated, he brought liveliness to the voluminous work: in addition to the homogeneous choir
blessed with many beautiful voices and the committed instrumentalist, they also radiated Cornelia
Horak with crystal soprano, Markus Forster with beautiful, flexible alto voice, Virgil Hartinger’s
expressive tenor and Matthias Helm elegant bass…

„Kronen Zeitung“ from 18.08.2012, A. Hein

A harmonious „Messiah“ in the Abbey Church …Even though one may have heard some things
more radiant and accentuated, one could experience a perfectly harmonious and round
interpretation in the English original version („Messiah“). The soloist quartet was almost excellent,
with Cornelia Horak (soprano), who is as pure as a bell and as sure as coloratura, the expressive
Markus Forster (alto), the softly timbral Virgil Hartinger (tenor) and the profound Matthias Helm
(bass). The original period ensemble Barucco under its very agile boss Heinz Ferlesch played the
catchy melody and concise motifs with small intonation clouding, caused by the historical
instruments, but always very vital, transparent and with a slender sound. The choir Ad Libitum was
almost always homogeneous and balanced as well as beautiful in sound. Colourful and varied
pastoral moods skilfully changed with expressive laments and exuberant jubilation!

„Kleine Zeitung“ from 17.08.2012, HC

Impressive conclusion With an impressive performance of Handel’s „Messiah“, Pankraz von
Freyberg concluded his artistic directorship of the festival „European Weeks Passau“, which he
began 16 years ago and developed to a high standard. The Studienkirche in Passau was full to
bursting when the Austrian choir specialist Heinz Ferlesch interpreted the oratorio with his choir
„Ad Libitum“ and the original period ensemble Barucco in an almost unsurpassable baroque
performance. He succeeded in achieving a unity between clear exposure of the rhythmic structures
and melodic phrases, between dynamics in the dramatic sections and mysticism in the epic
passages. The soloist quartet played a decisive role in this great success.

„Neues Volksblatt“ from 02.08.2011, Rudolf Leßky

Compressed sound: Choir Ad Libitum and Ensemble Barruco. Once again the „Messiah“, as
already last year, as already 1995, so also on Sunday evening at the end of the 59th Festival
European Weeks in the Passauer Studienkirche. It is pleasing and remarkable that the EW showed
the courage to entrust the more than two-hour work – probably one of the most popular works of
church music alongside Bach’s Christmas Oratorio – to a 40-year-old highly talented and
meticulously working conductor such as the Lower Austrian Heinz Ferlesch and his own choir Ad
Libitum as well as his original period ensemble Barruco: The evening is carried by the outstanding
orchestra and its Baroque sound distillate: dense, compact, highly present, always ready to tell
musical stories, to light fires and make the earth tremble, crucify and transfigure. Heinz Ferlesch
works out incredibly precise details, tightens the reins and hands over the command completely to
his concertmistress at the right time. You know each other, you appreciate each other, you trust
each other, you dare something in this well-rehearsed team…

„Passauer Neue Presse“ from 01.08.2011, Raimund Meisenberger

Grandiose performance ORATORIUM / Choir Ad Libitum under Heinz Ferlesch presented Handel’s
„The Messiah“ and received standing ovations. … The moving oratorio resounded in an extremely
lively and highly atmospheric contemplation. The soloists Cornelia Horak (soprano), Margot
Oitzinger (alto), Virgil Hartigner (tenor) and Matthias Helm, bass, also performed with great
dedication. The message of the oratorio was interpreted grandiosely. It was a great moment for the
visitors, who, after a moment of moving contemplation, thanked with standing ovations…

„Niederösterreichische Nachrichten“ from 03.05.2011, Leopold Kogler

Applause for Handel’s masterpiece …Accompanied by the original sound ensemble Barucco,
playing on original baroque instruments and led by Heinz Ferlesch, the entire ensemble impressed
the audience…

„Tips Linz-Land“, 18th week 2011

J. S. Bach: Christmas Oratorio, Cantatas 1-3

…The type of interpretation was oriented to the liturgical use of the time. The focus was therefore
on the mediation of the biblical account, the dramatic episodes and the sensitive poetic verses.
Above all, there was a personal sympathy of the interpreters for the events. Since no detail of the
score was lost in the ensemble movements either, inspired music-making could be experienced.

„Oberösterreichische Nachrichten“ from 23.12.2010, FZ

The Wiener Singakademie and the original period ensemble Barucco sang and played three
cantatas from Bach’s Christmas Oratorio in a skilful and lively baroque style. Conductor Heinz
Ferlesch preferred fresh tempi and encouraging rhythmic accents at the Brucknerhaus in Linz. The
consistently youthful voices were full of joy and let the chorales sound with cultivated vocal volume.
The sparsely occupied baroque orchestra supported choir and soloist quartet – Cornelia Horak with
bell-pure soprano, Gerda Lischka with tender alto voice, Daniel Johannsen a hopeful evangelist
and Günter Haumer with profound bass voice – excellently. Encores!

„Kronen Zeitung“ from 23.12.2010, FD

G.F. Händel: Alexander’s Feast

There was no triumphal procession, at the second evening concert of the Melker Barocktage. Gala
dinner also not. Nevertheless it was celebrated. And not only Georg Friedrich Händel. But above all
Alexander the Great. And: the power of music. It was paid homage, in Handel’s „Alexander’s
Feast“, to which people danced, flirted, sulked, rolled, angered and, of course, jubilated (not least
in the audience). And all this with so much care, so much winking and so much joy in playing that
one would like to jump up and dance minuets right away, in the middle of the collegiate church.
The Ensemble Barucco is great, conductor Heinz Ferlesch is upbeat, the chamber choir of the
Wiener Singakademie and the soloist trio are convincing. Conclusion: A baroque festival – as
splendid as the Melker Stiftskirche!

„Niederösterreichische Nachrichten“ from 01.06.2009, MF

Stringent concept At the „Alexanderfest“, a delegation of about 40 members of the Vienna
Singakademie offered the interpretation of a high-quality amateur choir, excellently trained by
Heinz Ferlesch and, like his original period ensemble Barucco, confidently conducted. The spirited
Andrea Lauren Brown with the jubilant tone of her soprano and the brilliant tenor by Markus
Brutscher, assisted by Günter Haumer’s cultivated baritone, lent this rendition special splendour.

„Wiener Zeitung“ No. 105 dated 02.06.2009, Gerhard Kramer

In 1748, Georg Friedrich Händel created a somewhat different apotheosis on his most prominent
bread bun giver, King George II: the oratorio „Solomon“ finally describes the wisdom and justice of
the biblical ruler in three striking acts. Solomon built the empire on the foundation stones of his
father David. In keeping with this glorious theme, the concert hall succeeded in putting together the
ensemble: Heinz Ferlesch stood on the podium of the Barruco ensemble, which he founded in
2002, and „his“ Singakademie; a worthy setting to celebrate the tenth anniversary of the
collaboration. Even though some of the performances were not quite successful, the fervor of the
song of praise was present. In addition, it was important not to steal the show from the consistently
melodious soloists. Countertenor Tim Mead, with his warming, strong timbre, quickly forgot that an
alto player could also lend her voice to King Solomon. The sopranos Andrea Lauren Brown (with
an enthralling performance of her mother) and Sandra Trattnigg (a tender-voiced queen of Saba,
enchanting in her high notes) were also convincing. Not to forget the gentlemen: Already the
opening aria of the tenor Daniel Johannsen became the highlight, the solid bass of Dominik Wörne.
The star of the evening, however, was „Barruco“, the fiddles swirled precisely under Ferlesch’s
guidance, the woodwinds raised to idyllic pastorals and true hymns, not dusty at all, “tromboning”
through the hall.

„Wiener Zeitung“ from 28.04.2009, Daniel Wagner

Strangers very close: Georg Friedrich Handel’s oratorio „Solomon“ in Vienna. The Vienna
Singakademie was full of verve. Heinz Ferlesch was a double landlord – as director of the Vienna
Singakademie and his Baroque orchestra Barucco – and he had the strings in his hand. The
Vienna Singakademie was full of rhythmic verve, sometimes rousing, sometimes dreamy – so the
traditional amateur choir rejoiced in the midst of Handel’s longing vision of an open sky…

„Die Presse“ from 27.04.2009, Karl Gaulhofer