Press

REMY FRANCK, PIZZICATO MAGAZINE (LU), November 13, 2019

This wonderful program has everything to inspire the listener. With varied moods between elegant, lively and playful, melancholic and reflective, the compositions of Debussy, Staud, Bax and Genzmer are performed in a highly inspired way. Everything sounds natural on this CD, and that’s what is making it extremely pleasant. No theatricality, no demonstrative virtuosity, no excessive ornamentation disturb the rich and varied music.

ANDRÁS ADORJÁN, Flute Voyage CD, NOVEMBER 5, 2016,

Congratulations. It’s a pleasure to listen to her. She never plays the flute ostentatiously, but lets the music be the main thing. Yet her interpretation is very personal and compelling.

Interview in Eurowinds Magazine, Vol. 2/2016 "Soulful Summiteer Wins"

EDWIN BAUMGARTNER, WIENER ZEITUNG (A), November 11, 2015

Flute journey through countries and centuries – Flute Voyage (Solo-CD)

Flute virtuoso Birgit Ramsl undertakes an exciting musical journey from Carl Philipp Emanuel Bach's well-ordered late baroque to Toru Takemiotsu's expansive Air. Further stations: Schumann romanticism by Carl Reinecke, agile neo-classicism of french influence by Jean Francaix and russian form by Sergei Prokofjew. Olivier Messiaen's enraptured "Merle Noir" hardly ever sounded more intense and colorful than with this brilliant soloist.

Interview in the Muramatsu Magazine, Vol.129/ Herbst 2015

WRITTEN BY WALTER52

Report from: meeting “the blue hour of romance”

Location: mdw, 8 Rennweg, 1030 Vienna, Austria
Appointment: Friday 21.03.2014 18:30h

Dear friends of Groops and excellent music, first of all, this concert was international top class, on top of that we could enjoy it in an elitist frame and for free. So 10 Groopies enjoyed this musical delicacy of the internationally active top musicians. The hall was quite crowded (seats on window sills and standing room in the back) and the audience rewarded the individual pieces with almost never ending applause. It was the inaugural concert of Birgit Ramsl from KREMS on the occasion of her appointment as university professor at the Franz Schubert Institute." Programme: Georges Enesco – Cantabile et Presto for flute and piano, Franz Schubert – Variations on the song “Trockene Blumen“ for flute and piano Op 160, Felix Mendelssohn-Bartholdy – Trio in D minor Op 49 for piano, flute and cello Flute: Birgit Ramsl Violoncello: Maria Grün Piano: Gottlieb Wallisch

MARTIN SCHRAHN, WAZ (D), February 11, 2014

Bottrop. Four flute tones form a small, sober-looking phrase, seconded by piano chords, and above it the floating figuration of the vibraphone arches. This music is sound and carries nothing aggressive, dissonant, rushed. It changes in all caution, with minimal rhythmic shifts, in gentle dynamics, with wonderful color changes. [...] It’s not necessarily self-evident. For Feldman did not write a trio – for flute/bass flute (Birgit Ramsl), vibraphone/glockenspiel (Andreas Steiner) and piano/celesta (Kai Röhrig) – in the classical sense, as a sounding moving form. Rather, the composer chooses musical elements to create a free flow of sound. Which lasts for 90 minutes. The listener can hold on to certain phrases or tone repetitions. But these, barely heard, change color as quickly as the famous chameleon. [...] Then, for example, the bass flute with its dark timbre comes to speak, formulates an evocative episode, the glockenspiel assists staccato on one tone, the piano primes velvety soft. Or the celesta brightens up the scene a little more. The audience is allowed to reflect, meditate or ponder on the result, for example on the phenomenon of permanence in music. [...] The American, for his part, orders his second trio to last a good four hours. This work was also performed by the soloists of the Bottrop Chamber Orchestra, one day after number one, in the Heilig-Kreuz-Kirche. Feldman wrote the piece as a tribute to the painter Philipp Guston. [...] A musical frontier experience for the audience. In the end, however, the recognition for such an ambitious program remains. One day later Birgit Ramsl was already performing at the Vienna Volksoper and Kai Röhrig stood at the podium of the Passau Opera. Conclusion: The Bottrop Chamber Orchestra – with its fabulous soloists – takes a chance.

RIED TIPS (A), WEEK 35, 2011

Birgit Ramsl, solo flutist of the Orchestra of the Vienna Volksoper and meanwhile a longstanding ISO member, was able to impress at the following Flute Concerto in D Major by Carl Reinecke both with technical brilliance and with sensitive interpretation.

LANDSHUTER ZEITUNG (D), AUGUST 29, 2011

Carl Reinecke’s Flute Concerto op. 283 follows with a reduced orchestra: the way Birgit Ramsl arranges her solo part is anything but undercooled. With her physical effort and creative urge, she fits in well with the agile orchestra, and together – there the incessant urging of the orchestra, there the brilliantly mastered virtuoso drive passages of the soloist – the finale becomes a racy joyride.

AUSTRIAN MUSIC MAGAZINE (A), 5/2008

Zeitklang, composition competition on March 9, 2008 in the Schömer Haus

For the second time, the International “Zeitklang“ Composition Competition was held in Lower Austria [...] The jury was able to draw from a full pot of 70 entries from all EU countries [...] and nominate five compositions, which were lovingly rehearsed by Ensemble XX.Jahrhundert under the direction of Peter Burwik and presented on the evening of the competition. [...] One of the surprises of the evening was What the wave ment by Nicolas Tzortzis/GR. As can be seen from the title line, musical waves in every compositional and motivic form determine the work, whereby the news of the death of a good friend has an emotional impact: The meditative beginning develops into a furious end, whereby the flute solo (bravura: Birgit Ramsl) enthused both compositionally and technically.

GERT KORENTSCHNIG, KURIER (A), February 28, 2010

Birgit Ramsl (flute), Johannes Flieder (viola) and Gabriela Mossyrsch (harp) with works by Debussy, Staud, Bax, Genzmer. Fascinating instrumentation, great sound pictures, fine interpretation.

PHILIPPE BERNOLD IN TRAVERSIÈRES MAGAZINE (F), NO. 88

1st International Flute Competition Aurèle Nicolet 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 estdigne d’être mentionné. The très belle prise de son de l’Autrichienne Birgit Ramsl.

NODA KAORN IN MURAMATSU MAGAZINE (JAP), WINTER 2006 VOL. 90

7th International Flute Competition Jean-Pierre Rampal 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 color and expression stood out from the others. Especially in the “Variations on the Song Dry Flowers“, 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 emphasized 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 colors appealed every musical word to the listener.

WIESBADENER KURIER (D), APRIL 19, 2005

Mozart’s flute concerto with the Mozart prizewinner Birgit Ramsl in the first movement was carried by a lightness that did not appear to be light-weight, but rather did full justice to the music. Birgit Ramsl distinguishes a soft and round flute tone, which was particularly effective in the piano passages. The flutist knew how to convince through agogic down to the smallest detail. And Max Pommer fully integrated the orchestra in this piano-supported music-making, successfully tracing the great line of the composition, so that the Adagio in particular became a highlight of this last concert of the season.