Edwin Baumgartner in the Wiener Zeitung (Austrian Newspaper), 10 November 2015

A flute journey through countries and centuries – Flute Voyage (solo album)

“The flute virtuoso Birgit Ramsl takes you on a thrilling musical journey from the well-ordered late baroque music of Carl Philipp Emmanuel Bach to Toru Takemitsu’s expansive Air. Further stops along the way: Romantic music à la Schumann by Carl Reinecke, supple neoclassical music in its French form by Jean Francaix and in its Russian form by Sergei Prokofiev. Olivier Messiaen’s enchanted “Merle noir” has never sounded more intense or more colorful than through this brilliant soloist!”


Martin Schrahn in the German newspaper WAZ, 11 February 2014

“Bottrop, Germany. Four notes forming a small, quite simplistic phrase on the flute, seconded by piano chords and overlaid with a floating figuration on the vibraphone.
This music is pure sound and does not encompass anything aggressive, dissonant or rushed. It gently varies, with very small rhythmic shifts, subtle dynamics and wonderful changes of color.” […] “This isn’t self-evident as Feldman didn’t write a trio – for flute/bass flute (Birgit Ramsl), vibraphone/glockenspiel (Andreas Steiner) and piano/celesta (Kai Röhrig) – in the traditional sense, as a sounding, moving musical form. Instead, the composer chose musical elements to create a freely flowing soundscape. Lasting 90 minutes. The audience can grip onto certain phrases or repetitions. As soon they are heard, however, they shift and change colour just like a chameleon.
Then the bass flute can make an appearance, shaping an episode of evocations with its dark timbre. The glockenspiel assisting with a single, repeated, staccato note. The piano forming a velvety base. Or the celesta subtly lightening up the scene. The audience can give itself over, meditate or reflect, for example on the phenomenon of duration in music.” […]
“The American, on the other hand, prescribes his second trio a duration of four hours. And this piece too was performed by the soloists of the Bottrop Chamber Orchestra, one day after the first one, in the Heilig-Kreuz church. Feldman composed the piece as a homage to the painter Philipp Guston.” […] “An experience for the audience at the limit of what is musically possible.” […]
At the end, what stays is the appreciation for such an ambitious choice of works. The next day, Birgit Ramsl was back at the Volksoper Vienna to play and Kai Röhrig stood at the conductor’s stand at the Passau opera once more. Conclusion: The Bottrop Chamber Orchestra and its fantastic soloists aren’t afraid to take risks.”


Ried Tips (Austrian magazine), 35th week 2011

[…] “Birgit Ramsl, Principal Flute in the orchestra of the Volksoper Vienna and, by now, a member of the ISO (Innviertler Symphonie Orchester) for many years, impressed in the following flute concerto in D Major by Carl Reinecke with her technical brilliance and sensitive interpretation.” […]


Landshuter-Zeitung (German newspaper), 29 August 2011

[…] “Then follows, with a slimmed-down orchestra, Carl Reinecke’s flute concerto op.283. The way Birgit Ramsl shapes her solo part is far from distant and cool. With her great physical and creative commitment, she fits in very well with the agile orchestra. And together – the orchestra’s relentless drive on the one side and the brilliantly executed, virtuoso runs of the soloist on the other side – they turn the final into an incredible fast ride.” […]


Österreichische Musikzeitschrift (Austrian music magazine), 5/2008

Zeitklang, Composition competition, 9 March 2008 at Schömer Haus For the second time, the international composition competition “Zeitklang” was held in Lower Austria […]. Drawing upon the enormous number of 70 submissions from all EU member states, the jury nominated 5 compositions which were, on the defining evening, affectionately rehearsed and performed by the ‘ensemble xx.jahrhundert’ led by Peter Burwik. […] One of the evening’s great surprises was ‘what the wave meant’ by Nicolas Tzortzis/Greece. As can be gleaned from the title, musical waves in every shape and form are the focal point of the composition. Additionally, the message of the death of a dear friend surely plays its part emotionally: The piece develops from a meditative beginning to a furioso ending, in which the flute solo (brilliant: Birgit Ramsl) excites through its composition and technical aspects.” […]


Philippe Bernold in the magazine Traversières (F), no. 88

(1st Nicolet International Flute Competition in Beijing)

[…] „Même si cela n’est pas habituel, je voudrais ajouter un mot sur quelques candidats qui m’ont particulièrement touché et dont le travail est digne d’être mentionné. J’aime la très belle prise de son de l’Autrichienne Birgit Ramsl“ […]


Noda Kaorn in Muramatsu Magazine (JAP), Winter 2006 Vol. 90

(7th Jean-Pierre Rampal Flute Competition in Paris)

[…] „The 7th Rampal International Competition took place from October 20th through the 29th. […] Before the results were announced for the second round, I spent some time with one of the participants, Ms. Birgit Ramsl, at a nearby café. Ms. Ramsl is co-principal flutist at the Vienna Volksoper, along with Mr. Schmeiser, and we know each other since she plays a 14K Muramatsu flute. Ms. Ramsl was the first to appear in the second round, and the richness of her tone colour and expression stood out from the others. Especially in the „Variationen über das Lied Trockne Blumen“, her insight into Schubert‘s profound world (with whom she shares her home-country) was exceptionally acute, and her interpretation set her apart from the rest of the competitors. Her idea of the Variations was very similar to mine, and she did not try to present skill or technique just for the sake of it, as so many variational works tend to do. For example, in the sixth waltz, Ms. Ramsl emphasised that the motive represents a peas ant‘s dance and should not be played with an overly-fast tempo. […]
And the results, Ms. Birgit advanced to the finals. […] The second performer was Ms. Ramsl. Her broad range of experience, including performing an extensive repertoire, showed in her Mozart Concerto in G-major. Her many different tone qualities and choice of tone colours appealed every musical word to the listener.“ […]



Wiesbadener Kurier (German newspaper), 19 April 2005

[…] “So the first movement of Mozart’s flute concerto, played by the laureate of the Mozart prize, Birgit Ramsl, had a certain elegance and ease, that didn’t feel too lightweight and absolutely did the music justice. Birgit Ramsl has a very smooth and round flute tone which can be enjoyed at its fullest in the piano passages. Down to the smallest detail, the flutist managed to convince with her use of tempo. And Max Pommer completely involved the orchestra in this way of making music that was built from a subtle piano. He successfully retraced the major idea of the composition, so that the Adagio became the climax of this last concert of the season.” […]