"The period instruments of Tafelmusik, augmented with brass and timpani, were in excellent form." - Bach's Mass in B Minor with Ivars Taurins, THE STAR, April 7, 2018

"The colonial powers may not have appreciated the music and instruments of their new properties, but we certainly can. Rather than let these non-European artists only showcase their talents on their own — we were treated to mesmerizing solos by both — Tounkara and Farahmand were also included in music performed by the whole orchestra, to beautiful effect.

We saw, heard and felt what it was like to have people from completely different traditions come together with a common purpose to do what musicians do best: entertain." - Safe Haven at Trinity-St Paul's Centre, THE STAR, January 19, 2018

"The first performance of Tafelmusik Orchestra’s “Baroque Diva” concert program at Koerner Hall on Thursday night was a many layered thrill. [...] The Tafelmusik Orchestra was in particularly fine form in a program that demanded tight ensemble playing as well as nimbleness." - Baroque Diva at Koerner Hall, MUSICAL TORONTO, March 24, 2017

"Musically of course, the concert was splendidly played. Tafelmusik’s reputation has been solidly built since its 1979 inception. Let’s hope it is back with another of these marvelous, imaginative programs in the not too far distant future." - J.S. Bach: The Circle of Creation at University of Washington, THE SUN BREAK, March 16, 2017

"The evening’s high point was a magnificent rendition of the Brandenburg Concerto first movement, jovial in melody and the orchestra’s clear enjoyment of performing the piece. Fascinating, the concert’s verbal discourse on the creation of music paired with such orchestral talent made for quite the unforgettable evening." - J.S. Bach: The Circle of Creation at Lobero, SANTA BARBARA INDEPENDENT, March 16, 2017

"Their vigorous account of the Brandenburg Concerto No. 3 in G Major, BWV 1048, demonstrated how well the strings played together with a precise, tastefully balanced ensemble without aid of a conductor, a 19th-century convention unknown to Bach the several generations that followed him. [...] For a farewell program to dear old Sherwood Auditorium, Tafelmusik Baroque Orchestra gave us a celebratory evening of great music, captivating historical context, and polished performance with ample conviction." - J.S. Bach: The Circle of Creation at La Jolla Music Society, THE SAN DIEGO STORY, March 11, 2017

"Bach’s music itself was at the center of the program, brilliantly performed from memory by eleven string players, two oboists, and a bassoonist (the harpsichordist read from a score). [...] Although many of the musical selections were familiar, one not-so-familiar but wonderfully complex Adagio (an arrangement of the alto aria from Cantata BWV 42) was the highlight of the second half of the program. In more vivacious works like the Sinfonia from Cantata BWV 11 that closed the program, Tafelmusik played at lightning-fast tempos with extraordinary clarity." - J.S. Bach: The Circle of Creation at Oberlin's Artist Recital Series, CLEVELAND CLASSICAL, March 7, 2017

"What also stood out was the grace of the scenic movement around the harpsichord by the members of the orchestra and the narrator, which added life and air to this unforgettable assembly..." - J.S. Bach: The Circle of Creation at Casals Festival, EL NUEVO DÍA, March 7, 2017

"Tafelmusik was a superb ensemble with a generous sound not found in many baroque orchestras. Musical selections ran the gamut from orchestral pieces to solos for cello, violin, or harpsichord. Often baroque music concerts suffer from textural monotony, but Tafelmusik’s timbral variety was pleasant and well-conceived." - J.S. Bach: The Circle of Creation, at Sounds of Baroque festival, THE SAN DIEGO UNION-TRIBUNE, March 12, 2017

"There was plenty of music, echoing and augmenting the spirit of the text. Particularly lovely: a propulsive bassoon line under playful oboes in the overture to Orchestral Suite No. 1 in C Major and the finale, Sinfonia (“Praise the Lord in his riches”) which was suffused with radiant joy." - J.S. Bach: The Circle of Creation, at the Bach Festival Society of Winter Park, ORLANDO SENTINEL, March 7, 2017

“Tafelmusik proved distinction as one of the world’s finest Baroque ensembles with its presentation of The Galileo Project.“   - The Galileo Project Tour at Cornell Concerts, THE CORNELL DAILY SUN, November 17, 2014

“There was fire in the Allegro finale, as there was in the finale of Handel’s Concerto Grosso in B flat, in which the architecture of the fugal Allegro was made strikingly lucid. And the focused playing of Christina Mahler and Allen Whear in the slow movement of Vivaldi’s Concerto for Two Cellos in G minor delivered everything.“   - 2014 Tour at Carnegie Hall, THE NEW YORK TIMES, March 19, 2014

“But Thursday night’s audience just stayed put, unwilling or unable to leave. Not applauding, just sitting in their seats. Stunned, hoping for more, reluctant to re-enter the world of Bloor Street – who knows? Maybe all three. Eventually, the orchestra members themselves started to depart, and so, finally, did the audience. I’ve never quite seen anything like it. I can’t imagine a more glowing a testament to the evening of fine music-making that we had just witnessed.“   - Koerner Hall w/ Bruno Weil, THE GLOBE AND MAIL, March 31, 2013

“House of Dreams is a captivating expansion on our fascination with the feel for life and times of beloved music...“   - House of Dreams, Lobero Theatre, SANTA BARBARA NEWS-PRESS, March 20, 2013

“A seamless flow of music, art and spoken narrative, and a marvelous concoction.”   - House of Dreams, St. Louis Cathedral Concerts, ST. LOUIS POST-DISPATCH, March 16, 2013

“Seventeen-strong here, the group played the music with a wonderful ease and vitality. Sometimes it seemed as if the players were jamming together, so friendly was the give and take, so lively were the rhythms.“   - House of Dreams , SOKA Center, ORANGE COUNTY REGISTER, March 15, 2013

“The ensemble members moved freely around the stage and performed the entire concert from memory, their spirited, polished interpretations imbued with spontaneity and imaginative flair.“   - House of Dreams, Miller Theatre, THE NEW YORK TIMES, March 6, 2013

“The Galileo Project was a thoroughly enjoyable and extremely memorable performance by Tafelmusik.“   - The Galileo Project, Conexus Arts Centre, LEADER-POST, December 1, 2012

“Classical music will never be the same locally after last Sunday‘s Tafelmusik Baroque Orchestra played the Cowichan Theatre.“   - The Galileo Project, Cowichan Theatre, COWICHAN NEWS LEADER, November 29, 2012

"House of Dreams is held aloft by music as well as visual and historical structure inspired by so many interrelationships that one could return for every one of the remaining performances to find new layers of insight and meaning. It is a rare treat to experience such a smoothly and expertly integrated show. Don't miss it."   - House of Dreams review, Trinity-St. Paul‘s Centre, TORONTO.COM, February 10, 2012

"The sum-total of all these elements was like a documentary film brought to life: high quality eye-candy and a guided trip through Europe rolled into one, for the price of a concert ticket."   - House of Dreams review, Trinity-St. Paul‘s Centre, THE GLOBE AND MAIL, February 9, 2012

"Familiar melodies aside, the music had a frisson of added intensity, even melancholy; Ms. Lamon was an exciting soloist, conjuring a whirlwind in the final Badinerie. Elsewhere Tafelmusik mixed insight, assurance and visceral engagement in works to show stylistic cross-pollination among Baroque composers."   - Carnegie Hall, Zankel Hall, Steve Smith, New York Times, November 21, 2011

"A superb evening...an event steeped in intellect and imagination...This production, which has traveled to China and Malaysia, to Mexico and California, and is bound for Australia, the Netherlands and Spain, has yet to find its way to New York. That can't happen soon enough."   - The Galileo Project, Toronto, James R. Oestreich for The New York Times, March 4, 2011

"Once again, a finely focused performance brought out the best in the music."   - Canadian Tour: Baroque Survey Program, The Ottawa Citizen, February 21, 2011

"The Tafelmusik forces are, to my ear, matchless...This choir and orchestra are deeply inside what they do. They listen raptly. They mean what they play and sing. There are no others quite like them."   - Bach Mass in B Minor, Ken Winters for The Globe and Mail, February 14, 2011

"You can hear the B Minor Mass performed differently, but it's hardly likely that you could have heard it performed better than at the hands of these accomplished, committed musicians."   - Bach Mass in B Minor, The Toronto Star, February 10, 2011

"One of the most notable aspects of the concert was the freshness and eagerness in the presentation of this music--as if the music had been newly discovered and was being offered as a special present. This enthusiasm by the performers projected into the hall, drawing the listeners into a world of the past, not as in a museum, but as if the past was truly alive."   - Canadian tour: Baroque Survey Program, The Calgary Herald, January 31, 2011

"The program ended with a crystal clear, rhythmically lively and impeccably contrasted reading of Haydn's Symphony No. 44 that put the emphasis on humour and entertainment - refreshing presences in any 21st-century concert hall."   - Mozart and Haydn Symphonies and Keyboard Cti, with Richard Egarr, Toronto Star, December 2, 2010

"The most imaginative, engaging, and spontaneous-sounding early music program I can remember attending."   - Galileo program, La Jolla Music Society, SanDiego.com, February 5, 2010

"The program was one of the best I've seen in years - a celebration of reason and imagination, whether in art, science or the world of ideas."   - Galileo program, Friends of Chamber Music, The Kansas City Star, January 31, 2010

"At last night's performance at Trinity-St. Paul's Centre, the intensity was such that the old church was left in dead silence for several seconds after the final chord, as the near-capacity audience collected its wits enough to start clapping. From then on, praise blossomed into a sustained standing ovation."   - Vivaldi Four Seasons, John Terauds for The Toronto Star, December 4, 2009

"So yes, there were all kinds of delightful bells and whistles to be experienced, but how was the music? In a word, superb."   - The Galileo Project, The Ottawa Citizen, March 8, 2009

"Tafelmusik avoided the frantic tempos sometimes preferred by period-instrument groups, performing with elegant phrasing and lithe clarity and aptly illuminating the contrasting character of each section."   - Watermusic at Carnegie Hall‘s Zankel, The New York Times, February 16, 2009

"Simply put, this is one of the best, most imaginative shows based on classical music seen here in years. Including intermission, these two hours pass as if they were 10 minutes. There isn't a single dull moment or off note. We often see multimedia shows where one element overpowers the others. We rarely see one that proves that multimedia can become an artform greater than the sum of its parts. In the end, the audience is left with a true taste of the awe, wonder and optimismthat people felt in the 17th and 18th centuries, as scientists pulled the veils off the myths and mysteries of Medieval times. It's hard to come back down to Earth when it's all over."   - The Galileo Project, Toronto Star, January 22, 2009