“The Freiburg Baroque Orchestra, familiar from […] opera recordings and other notable projects, may be the liveliest ensemble now on the international early-music scene.”
(James R. Oestreich in the New York Times from 19 march 2007 on the cd recording of Mozart's symphonies "Prague" and "Jupiter" with Freiburg Baroque, conducted by René Jacobs)

„Playing period instruments and working with specialist Baroque conductors, this fine ensemble has a distinguished, crisp, lively sound which brings Haydn’s oftperformed music to new life.”
(Omer Shomrony in Jerusalem Post from august 24th, 2005 about the FBO's CD Joseph Haydn, Symphonies no. 91 & 92 and "Scena di Berenice")

„From the firsts flourishes of the Ouverture, the 16 Freiburg musicians played with rhythmic brio, crisp articulation and an engaging sense of adventure.“
(Anthony Tommasini in the New York Times from february 8th, 2005 about the FBO's concert at Lincoln Centre, New York, february 6th, 2005)

„The players brought crisp articulation and bracing vitality to a symphony they clearly, and rightly, admire.“
(Anthony Tommasini in the New York Times from august 7th, 2004 about the FBO's concert at the New York Mostly Mozart Festival on august 5th, 2004)

"The Freiburger Barockorchester sparkled with fiery rhythms and musical humour in Salieri's XXVI Variations on the La Follia theme. With its expressive playing and flexible dynamism the orchestra proved an ideal partner for Cecilia Bartoli."
(Nike Luber, Badisches Tagblatt, 10.11.2003 on the concert in Baden-Baden on 07.11.2003)

"The Freiburger Barockorchester was a equal partner for her. Its elasticity was reflected in the lively body language of their leader Petra Müllejans. Relaxed and yet succinct in the often dramatic accents and progressions, they played additional orchestral movements…"
(Ellen Kohlhaas, Frankfurter Allgemeine Zeitung, 06.11.2003 on the concert with Cecilia Bartoli on 04.11.2003)

"The Freiburger Barockorchester proved itself an ideally-matched partner for the soloist's supple interpretations."
(Thomas Schacher, Neue Zürcher Zeitung, 21.10.03, on the concert with Cecilia Bartoli at the Tonhalle in Zurich)

"The orchestra played with verve and precision and was more than able to do justice to Bartoli's temperament. Particular praise is due to the solo oboist and flautist who crossed swords with the singer, as it were, in Salieri's coloratura aria 'Vi sono sposa ed amante' from 'La fiera di Venezia'. … The Zurich audience expressed its gratitude with flowers, chocolate and standing ovations."
(Olivier Senn, Tagesanzeiger, 21.10.03 on the concert with Cecilia Bartoli at the Tonhalle in Zurich)

"Weightless tempo, melodiously singing middle lines, gossamer-fine music of a kind never heard before, and with each repetition you think: Don't stop."
(Friedrich Sprondel, Badische Zeitung, 14.10.03, on the concert Aufbruch der Söhne)

" … René Jacobs … was able to provide an altogether exciting performance with evenly matched supports in the clearly formed tones of the Freiburger Barockorchester, the perfectly rehearsed RIAS chamber choir, and an ideally suited solo trio."
(Gerhard Kramer, Die Presse, Vienna, 25.8.03, on the final concert of the Innsbruck Festwoche, Haydn's "Seasons".)

"...this is the most refreshing, surprising, and totally enjoyable Mozart recital I've heard in ages."
(Andrew McGregor, BBC Classical Reviews about the FBO's CD with Mozart-Arias; sung by the french soprano Sandrine Piau, conducted by Gottfried von der Goltz)

"..but it was clear the audience would never get enough of these musicians."
(Seattle Times, 29.04.02)

"The playing in all cases was bright and enthusiastic, rhythmically aggressive and complex in its ornamentation and expressive use of swell. Although the strings are relieved only by two oboes, a bassoon, theorbo and harpsichord, the Freiburgers have a vivid sense of instrumental color and rich textures."
(Mark Swed, Los Angeles Times, 30.04.02)

"The compelling energy behind all these performances, though, was the playing of the Freiburg Baroque Orchestra - meticulously and lovingly inflected, whether in power, yet, under Ivor Bolton's vibrant direction, constantly recharging the momentum of this minor masterwork [Mozarts Zaide]."
(Hilary Finch, The Times 19.6.02)

"...what is probably the world's top Baroque orchestra ... It is conceivable, however, that no troupe could perform with the exuberant aplomb and skill of the Freiburg Baroque Orchestra. Their playing is buoyant, technically spot-on and alive with effortlessly controlled energy... we should be grateful for every second in the company of an orchestra like this."
(Lindsay Kemp, Gramophone Magazine, 11/02)

"It's a joy from the start to finish, and I've never felt this close to Haydn in these famous early symphonies before."
(Andrew McGregor, BBC Classical Review about the FBO's CD with Haydn's "Tageszeiten"-Symphonies, 4.12.02)