Passion Drama in Oberbuchsiten
... The performance of the Buchsgau Chamber Choir under the direction of its valued conductor Andreas Reize was completely in the service of rendering this drama. Certainly not with the customary superficial means of massive sound levels, whispered pianissimo and persistent high tension used since the 19th century, but rather through the most extensively possible approximation of the original sound, which came alive in the already existing inner drama of the music, through tempo selection, articulation and, of course, dynamics, merely and simply in the manner stipulated by the score.... this showed the precise, transparent and dynamic musicial style of the chorus, its secure intonation and beauty of tone...

The sound was altogether very balanced, also in relation to the orchestra, which seemed powerful but not dominating, thanks to the historic instruments (vocal and instrumental parts are absolutely on an equal footing in this work) and was suitable to the size of the church in its intensity... The dialogical structure of the St. Matthew Passion, being conceived for two choirs and two orchestras, demands many short interjections and exclamations from the choirs, often after long pauses, which places tremendous demands upon the singers if to be precisely executed: the Buchsgau Chamber Choir accomplished this as a matter of course, which greatly contributed to the dramatic effect.

... The Buchsgau Chamber Choir set a new climax in its long series of high quality presentations of well-known and lesser-known choral works with this performance in the church of Oberbuchsiten. (April 2009)

A Mozart Evening in the concert hall with the cantus firmus consort and soprano Barbara Locher lived from an inspired orchestra and the soloist in good form.

Soloist Barbara Locher sang both of Illia’s arias with much vituosity, grace and dramatic depth, while the orchestra supported her with a transparent tone and precise timing. The Ballett KV 367, which Mozart had written for the coronation scene at the end of the opera, followed as the conclusion of the first part; a very demanding and diversified piece with a rousing finale.

Without blasé routine

After the intermission, the orchestra played the Symphony in Eb-Major KV 543, one of Mozart’s final symphonies. Here also, following the tradition of the academies, an additional aria was inserted in the middle...  The cantus firmus consort interpreted the symphony on many levels, impressively and with verve, entirely without the blasé routine which sometimes adheres to such often performed works.

Solothurner Zeitung, January 2009

Schubert  immaculately interpreted

Svelte, colorful tone
Two major works of Schubert in an immaculate interpretation.... The cantus firmus consort, under the constant direction of Andreas Reize, is an orchestra which makes music on historical instruments in a corresponding style of play which has been documented by basic research. The lower volume, in comparison with that of modern instruments, had a soothing effect in the somewhat smaller room; even the most powerful fortissimo never exceeded the barriers of tolerance. The colourfulness and slenderness of tone made the richness of detail in the score definite, and the quite brisk tempo in the first movement, when compared with other interpretations, was convincing... This, amongst other things, is the result of a singing and playing method oriented upon performance practice of early music using little vibrato, which especially asserted the natural beauty of the voices...

Cultivation of piano and pianissimo
... The Buchsgau Chamber Choir carried conviction through quallities similar to those of the orchestra, a cultivated choral sound, dynamic richness and clean intonation. Longer passages were also sustained in the stipulated low volume and had an especial haunting effect, the forte was effectively set off in comparison. The result of long and thorough rehearsal work became evident here. Andreas Reize could thus lead singers and instrumentalists with an unconstrained hand; they took up his intentions and implemented them... That chorus and orchestra are perpetually led by the same conductor is a stroke of luck and contributed substantially to the superbly harmonious overall result.

Neue Mittellandzeitung, June 2008

St. John’s Passion in purest form with cantus firmus

...those present experienced an interpretation of the Baroque work which could be measured with the highest standards...

The cantus firmus vocal ensemble and consort under the direction of Andreas Reize delighted the listeners yet again with secure intonation, smooth consonance of the voices and above all with an expressiveness... The magnificent music of Bach was developed tone for tone and word for word here, whereby Reize placed emphasis on artistic expression and understanding of the music.

Oltner Tagblatt, March 2008

Marlis Walter and the cantus firmus consort led by Andreas Reize offered new sound images on old instruments – a  journey of discovery with works of Beethoven and Mozart

Popular classic hits such as Mozart’s Jupiter Symphony and Beethoven’s Piano Concerto No.1, when heard on Baroque instruments and with a hammerclavier, let established listening habits be forgotten and new sound images be discovered. With much joy in playing and with technical competence, the cantus firmus consort orchestra demonstrated how broad the range of sound colors and dynamics with historical instruments can be...

Vivacious music-making
...Andreas Reize framed the Beethoven concerto with an early and a late symphony by Mozart. In the Symphony KV 201, as well as in the Jupiter Symphony, he affirmed himself as a conductor who isn’t only interested in a „reconstruction“ of a possible former status, but rather in a vivacious music-making which integrates available historical information. The Mozart rendition documented which level the Baroque orchestra, which was founded six years ago, has reached. The musicians of the cantus firmus consort played confidently and precisely. Especially succinct were the wind players, who performed with secure intonation and virtuosity. The strings were also dedicated. These were even very present where the winds step forward in Mozart. But generally speaking, Reize was mindful of transparence and balance. The „historicising“ approach of cantus firmus did not seem conservational in Mozart nor in Beethoven, but rather invigorating and updating – an exciting and catchy interpretation.

Solothurner Zeitung January 2008

A splendid Bach Mass
Dignified prelude to the 20th anniversary of the Bach Festival Region Thun: The Solothurn cantus firmus vocal ensemble and consort was brilliant in the Amsoldingen church with a touching interpretation of Bach’s Mass in B-minor.

Ten touching voices
...That meant nothing other than that ten soloists shared the 21 voices of Bach’s work. Stämpfli invited the famous Solothurn cantus firmus vocal ensemble and consort for this – a splendid decision. Under the direction of the 32-year-old Andreas Reize, the singers and musicians developed the glory of this impressive composition on historical instruments. The public was not long in coming, at any rate; the concert was already sold out a few days in advance...

Hope, pain, consolation
Whoever has heard Bach’s B-minor Mass in the large scoring must grow accustomed to the small setting. That came all the more easily because, on the one hand, with the small Amsolingen church, exactly the suitable space for this opus was found. On the other hand, the Solothurn ensemble captivated with its expressive play and touching voices. Reize left his musicians and singers the necessary freedom to fullly abandon themselves to the atmosphere and acoustics of the small church.
Thus the listeners hoped along with the humble „Kyrie“, let themselves be touched by pain when there was talk of Christ’s suffering, and let themselves be carried away by the jubilation of the „Gloria“ or the  concluding plea „Dona nobis pacem“ („Grant us peace“). The cantus firmus vocal ensemble and consort couldn’t have wished for a more successful premiere in Thun.

Thuner Tagblatt, August 2007

„Orphée ed Euridice“ at Waldegg Castle

„Baroque Operas at Waldegg Castle“ presented its new production of Gluck’s „Orphée et Euridice“ and with that are holding their own as the second open-air opera of the Ambassador-City alongside the „Classic Openair“.

...The initiative of the Baroque music specialist Andreas Reize was therefore all the more courageous for bringing a „leaner“ open-air opera into being: smaller casts with the local-based original sound ensemble „cantus firmus vocal ensemble and consort“, young voices, repertoire from the 18th century. In the first season it was two opera miniatures: Rosseaus „Devin du Village“ and Antoine Dauvergnes „Troqueurs“, and now the second time Gluck’s „Orphée et Euridice“...The „cantus firmus vocal ensemble and consort“ under Andreas Reize demonstrated with enthralling acting and singing that music such as this hardly passes the road on the quest for the original sound.

Südostschweiz, August 2007

Underworld of love: Orphée et Euridice

...The dynamic vocal ensemble together with the orchestra under the direction of the Solothurn conductor Andreas Reize presents itself true to the original, in proper style and finely developed. The expressive chorus parts in the movement concept of Georg Rootering go harmoniously hand in hand with the accurate orchestra...

The young soloists in the leading parts show solid performances with much joy in acting. Michael Feyfar as Orphée masters a tenor role of the classic repertoire leading into the highest register, Alessandra Boer as Euridice carries conviction with her stage presence, while Marysol Schalit embodies the role of Amor with charm, cunning and a clean voice.

Proud of a production „from the region for the region“, the premiere public rewarded the harmonious performance of all participants with sustained applause...

Aargauer Zeitung / Neue Mittellandzeitung, August 2008

Energetic The Magic Flute spiced with video messages

Graduates of the Bern College of the Arts Music Department presented Mozart’s The Magic Flute in Biel and Solothurn. The music, played on historical instruments, accompanied a staging in the style of MTV. A stimulating mixture of styles.

The music of this The Magic Flute required the listener to get involved in new listening habits. Andreas Reize, leader of the cantus firmus consort and lecturer for music in historical performance practice at the Bern College of the Arts, conducted on the basis of a transcription from 2004 by Bertrand Peigné, who had adapted this specifically for a wind ensemble. Reize employs only historical instruments in the ensemble. This interpretation is splendidly successful for Reize. The score had been
transformed in a highly sensitive manner, the sound colors of the single wind instruments were fully shown to their advantage. A pleasure. Playing and voices were convincing.

Solothurner Zeitung, Juni 2007

An impressive tone painting
Oberbuchsiten Chamber Choir performs „The Seasons“

The cantus firmus consort, founded and led by conductor Andreas Reize, appeared as the orchestra to the Buchgau Chamber Choir...

The members of the cantus firmus consort did even more to make the „Seasons“ an unforgettable experience in Oberbuchsiten: the budding nature in Spring, the tremendous blaring of the hunting horns, the bone-chilling cold and the languishing wayfarer in Winter, the boisterous drive of the peasantry in Autumn, the dramatic hunting scenes, where the shot which strikes the bird can almost be physically felt. A further highlight was provided by the summer storm. The Buchsgau Chamber Choir could give proof of its versatile means of expression here and in the other choral numbers, in several splendid choral fugues its flexibilty, transparency and creative power. The immaculate intonation of the choir is perhaps also a fruit of the ear schooled in the purity of chords with no vibrato. The music always corresponded with dramatics through the extremely differentiated playing and singing and vivacious music making.
The relation of choir to orchestra was balanced; one group never covered the other. Although this style of making music could seem unusual to some, the public was enthusiastic about the performance and showed this with long-lasting well-earned applause.

Neue Mittellandzeitung, May 2007

Amusing and frivolous playing
Baroque operas: Opera is being played in front of the idyllic setting of Waldegg Castle. Thursday was the premiere of the one-act operas „Le Devin du Village“ and „Les Troqueurs“.

...The performance of the cantus firmus vocal ensemble and consort under the direction of Andreas Reize, the initiator of this project, deserves particular recognition. Music was made with precision and transparency, everything was well-heard and tonally balanced to the very last rows. One almost managed the cool temperatures, which can be dire for playing instruments, throughout. Overall, the project deserves best marks and much credit for a possible continuation in the coming years.

Aargauer Zeitung / Neue Mittellandzeitung, August 2006