Brother Sun, Sister Moon: «Auch wenn Miriam Anderséns Glockenstimme und Rebal AlKhodaris exaltierte Vokalarabesken sowie Fadia el-Hages dunkler Gesang für sich allein genommen gewiss ein Vergnügen sind - die wahre Faszination ergibt sich erst aus dem Ganzen, das mehr ist als die Summe seiner Teile. So muss es auch das Publikum empfunden haben, das diesen von Engeln eingegebenen Melodien mit Andacht lauschte. Wie kann es sein, dass so unscheinbar schlichte Musik Hörer so lange in Atem hält?» Martin Gasser, Kronen-Zeitung (Austria), 27.3.18

Bruder Sonne

What the World needs now: «A maximum quality time- and culture-crossing. American folk songs with Scottish and British roots met Sephardic lullabies and Arabic laments and eulogies. It was marvellous to witness how the musicians from different cultures, but all living in Germany, found a common musical homeland. And deliverd a message definitely to endorse: that love will overcome all wars.» Antje Doßmann, Neue Westfälische (Germany), 1.8.17

What the World needs now

«Ivanoff beherrscht als Freigeist die Kunst des organischen Umbaus der Vorgaben, zeigte dabei die Vielfalt und die Ähnlichkeit musikalischer Ursprünge … Diese Form der kulturenübergreifenden Offenheit wurde vom Publikum begeistert gefeiert.» Joerg Konrad,, 22.3.15

«For decades, the Bavarian Bulgarian Vladimir Ivanoff, with his Ensemble Sarband, has been amongst the leading mediators between Oriental and Western Classical music.» Jens Voskamp, NN, 5.8.14

Passio-Compassio: «Between Orient & Occident -
Concert by Sarband at the Beethovenfest Bonn -
Orient met Occident, Christion Baroque music
encountered Turkish and Syrian-Orthodox chants,
performed by Sarband, directed by Vladimir Ivanoff
… A remarkable experiment … The key to the
successful blend was the alienation effect. And the voices of the flexible, excellent Fadia El-Hage and Dogan Dikmen, who supported the alliance. The result levitated between the different traditions, shaped a bridge between Orient and Occident, summarily dissolved the boundaries between the religions and aesthetics. Beautiful the haunting "Aljawm", with an elegant solo violin and a strong vocal performance. The much-needed bridging worked well. Comprehension and awareness were created by music. Quite a few could learn from this example.» Thomas Kölsch, Rheinzeitung (Germany), 16.9.14

Passio Compassio

From Russia with Love: «No cough, no noise - attentively, the audience listened to the sounds of strings, piano and voice …  Appropriate for American Independence Day, Sarband explored the relationship of Russia and Europe with the USA. It was a colorful soundscape of the th century. Vladimir Ivanoff, musical director of Sarband, guided his listeners through a voyage from Dmitri Shostakovich and Igor Stravinsky to Kurt Weill, Elvis Presley and songs from James Bond movies. Whether and how much Shostakovich was connected with Stalinist leadership and how he expressed this in his music - the stories behind the music were thrilling, informative and witty. » Susanne Träupmann, General-Anzeiger Bonn (Germany), 5.7.13

Sacred Bridges: «With his Ensemble Sarband, Vladimir Ivanoff  has deeply immersed himself into the culture of Orient and Occident, bringing to light the most amazing connections.» Babette Kaiserkern,
Potsdamer Neueste Nachrichten (Germany), 26.11.12

Our Father Abraham: «… For many years now,
Sarband have been building breathtaking bridges
between cultures and religions …. Their performances count among the most exciting and beautiful concerts in the entire, extensive Early Music scene … The texts were not only projected via video, but also illustrated with graphic art.Thus ears, eyes, hearts and minds of the enthralled audience were equally touched and enchanted.» Franz Szabo, Kritisches Journal der Alten Musik (Austria), 6-12

Music for Emperors & Sultans: «Across all differences in form and sound, parallels and kinships could be discovered. Turkey was not an exporting country in a musical sense, but, in turn, absorbed Western currentsy» Karsten Blüthgen, Sächsische Zeitung (Germany), 30.1.12

«Wresting Bach's Music From Its Western Moorings. You could hardly have hoped for a finale better suited to the theme than «Passio-Compassio», the Ensemble Sarband concert that closed the festival on Saturday evening at Alice Tully Hall. The Sarband approch is elegant, though not timid in its wresting of  Bach's music from  its Western moorings, but Vladimir Ivanoff, the group's director and arranger, has an unfailing instinct for finding musical ground where his transformations seem natural.» Allan Kozinn, The New York Times, 21.11.11

Sefarad: «With their programs, Sarband often open upwhole new musical levels to the listener, levels which had hitherto been unrecognizably wrapped in the veils of folklore … a flamboyant tone painting,
whose intense hues were a blend of Spanish lyricism
and the Romance Ladino language. The enchanting
intonation served the texts which told of love and
jealousy, of fame and longing.»  Jan-Gert Wolff,
Main-Spitze (Germany), 11.8.11


Sacred Bridges: «Politically explosive even today.
This moving, aesthetically and philosophically unique
performance proved all the more relevant. Virtuoso ritual singer Mustafa Dogan Dikmen passed over an exotic bridge of sound accompanied by Byzantine instruments. After this seamless exchange of Oriental mono- and Occidental polyphony, Bach's hymn «Wenn ich einmal soll scheiden» had the final say.» Die Welt (Germany), 1.8.11

«The 13-part concert programme «Tonfolgen» was
simply breathtaking. It abducted the audience also
into the aeroplane hangar at Hangelar and onto an
«Oriental journey», as the performance was titled.
The engine shed at Gummersbach was used as a
«Destination of longing». In five places between
Windeck, Bonn and Bergisch Gladbach, Ensemble
Sarband embarked on a «Journey of the soul» …
It was a splendid experience made possible by the
members of  Sarband within such a short period of
time in unusual performance venues.» Gisela Schwarz, Rhein-Berg Online (Germany) , 13.7.11

Tonfolgen 2011

«Moving Arabian Passion. Impressive performance
at the end of this year's Bach Festival at Arnstadt …
It was an incredibly exciting, intense listening
experience. Parts form the St. Matthew's Passion,
rendered instrumentally and vocally, were arranged
to become a new, valuable whole … Spare images from the Arab world currently in turmoil,
projected to a large screen, naturally underlined
the plea «and tear me out of my fears, by way of your fear and torture!». And the well-worn notion of
authenticity suddenly stood in a whole new context …   The «Arabian Passion» was a deeply moving and therefore invigorating Bach experience.»
Ursula Mielke, Thüringer Allgemeine (Germany), 29.3.11

The Arabian Passion: «The bold construction proved sustainable … » Marc Hoppler, Der Landbote
(Switzerland), 1.2.11

Passio-Compassio: «Bach, musical spearhead of Christianity, in sounding symbiosis with Arabic and Turkish reed flutes, fiddles and psalteries, mingled with exotic rhythms, oriental-style coloured singing and whirling dervishes. If this circle can be squared, many misunderstandings in the Christian-Muslim relations could be cleared up.Vladimir Ivanoff, musical spiritus rector of this enterprise, consciously does not touch upon the core points of religious difference, but rather concentrates on the centre of the Passion, in which Jesus, feeling forsaken by God, presents himself as a mere human being stripped of his divine mantle. To this end, Ivanoff contrasted the Bachian contributions with chants from the Byzantine, Syriac and Arabic Christmas and Passion liturgies, which are able, in their profound religiosity, spiritual power and great humanity, to build bridges between cultures. Also the dance ritual of the five dervishes shows the Orient from a mystical perspective that points to the
religions' common roots. The colourful cast allowed
exciting arrangements of well-known hymns such as
«Wenn ich einmal soll scheiden». While Fadia el-Hage turnsthe hauntingly plain melody into live wire with powerful emotion, oriental embellishment and sliding intonation, the polished, crystal-clear a-cappella rendition by the young choir from Cologne represents Western vocal art in pure beauty. In their gripping effect both performances meet without whitewashing the differences between their glorious traditions. At the end of the day, this is not about whitewashing of cultural identities, but about respect for the greatness of two cultures, which – at least in music – are closerto each other in their human content than everyday headlines let us believe. Seen from this angle, «Passio - Compassio» surely belongs to the thematically most interesting
contributions to the current Triennale. Enthusiastic
applause for all participants.» Pedro Obiera,
Giessener Allgemeine Zeitung (Germany) , 22.9.10

Ruhrtriennale 2010

Passio–Compassio: « brought cultures in touch
with each other in the Bochum industry cathedral.
Bach plays music to the dervishes' dance: Passio-Compassio» at the Ruhrtriennal. … The approaches to merging Orient and Occident presented here were certainly original and creative. …. All this brought to light interfaces as well as points of friction between two highly complex  systems of  thought and music ... Passio-Compassio supplied a textual superstructure: Biblical passages united with source quotations from the early Islamic and Christian world. And as a climax an intense, aural as well as visual trance arose. Seven Sufi dervishes from the Golden Horn, clad in flowing white garments, found their way into their circling, meditative movements. In this moment, the word "trance" did justice to its proper meaning: trans-ire: transition into a higher stage of rapture.» Stefan Pieper, nmz (Germany), 19.9.10

«Although it sounds like a daring venture to mix
Bach's compositions with the spontaneity of Arabic
music, Jazz and borrowings from Sufi mysticism:
«Passio-Compassio» will be remembered as one of the most felicitous and unified programmes of the Ruhrtriennale. The connection between the world religions Christianity and Islam, the issues of sorrow and empathy, love and passion – this programme got right to the heart of it with irresistible wisdom and rare harmony ... German, Turkish, Arabic and Aramaic texts floated above the music in harmonious exchange. The hypnotically whirling dance of the dervishes and words of the great Sufi mystic Rumi, projected to the large screen, made clear on a different level than that of the rational mind what
this means: a love divine.» Max Florian Kühlem,
Ruhrnachrichten (Germany), 19.9.10

«Passio-Compassio, to be exact: Passio transformed
into Compassio: Emotion translated and transcended
into the language of art or religion.Sentiments that are being conveyed into a new form. It is part of the
artistry of musical director Vladimir Ivanoff to leave it up to the audience to choose whether they want to
read the events on stage in a religious or an artistic
way. One is grateful for this. Genuine art subsists
on the freedom of its interpreters.» Kersten Knipp,
NDR Kultur (Germany), 18.9.10

The Arabian Passion: «A stirring oratorio for inter-
religious coexistence ... a uniqueprogramme ...
Vladimir Ivanoff
, percussionist and musical director of Sarband, set up the programme wisely, avoiding the major mistake that could have been made: the pastiche. The result, subtlybalanced, convinces
and captivates..» Javier Losilla, El Periodico de Aragon (Spain), 9.8.10

In the Realm of the Golden Apple: «… one of the most interesting programs at the Styriarte festival: humorous, entertaining, with exciting content.» M. Gasser, Kronenzeitung (Austria), 18.7.10

Mohammed's Birth & Dream Voyage to Heaven: «Ensemble Sarband prove that 15th-century Sufi
music can be exciting and relevant to Western
listeners. Every performance of Sarband is an
experience … Before Jordi Savall became famous with it, Ivanoff was already committed to the vision 
that the separation between Orient and Occident did not make sense in Early Music … 
What makes Sarband so unique is Ivanoff's persistent effort to make Oriental music accessible to Western listeners..» Stefan Grondelaers, De Standaard (Belgium), 25.5.10

Sacred Bridges: «Astonishing how well the different
elements matched each other. In many instances the
passage from one religion to another wasn't perceptible at all.» Andreas Schröter, Ruhrnachrichten (Germany), 12.5.10

Hortus conclusus / The Enclosed Gardens of Paradise: 
«On the eroticism of faith. Vladimir Ivanoff and his Ensemble Sarband enchanted with treasures of the medieval Orient and Occidentat the Graz Easterbfestival. 
Vladimir Ivanoff is a sophisticated cartographerof the exceptional. Delightful array of voices … 
The projected texts, displayed onto images of Gregorian notation, miniatures from the Bible or Oriental carpets,
were a work of art in their own right. In a nutshell: seamless enjoyment.»
Michael Tschida ,Kleine Zeitung (Austria), 31.3.10

The Perfect Light: «Building bridges is easier said than done - on the concert stage it worked out perfectly! 
A perfectly performed choreography, a stringently woven golden
thread: recitations and music telling the births
of Jesus and Mohammed are interwoven
without gaps into a diversified and entertaining
Marion Aigl, Wiener Zeitung, 23.12.09

Ruhrtriennale 2010

The Arabian Passion: 
«Bach's Passions, arab music,
jazz elements and images of suffering in the Middle
East are joined 
to a monumental work of art… All of a sudden, the listener is taken from his passive role and transported 
into the tale of the suffering of
Jesus Christ and of many people in the Middle East.
After intense waves of enthusiasm, not only the
but also the artists leave the Stadtkirche
in a state of deep emotion.»Der Neue Tag (Germany), 31.8.09

The Waltz: «Sarband in the most delightful musical contention with Ensemble Resonanz … 
On a second stage to the side, two whirling dervishes created an
impressive contrast 
to the virtuoso artistry of
Catolina Aguero and Yaroslav Ivanenko's couple dancing.
 An entertaining and witty opening of the two very different cultures to each other … » Jürgen Gahre, Bonner Generalanzeiger (Germany), 01.8.09

The Arabian Passion: «… a sublime act of balance
between Ethno, sound adventure and art music …
powerfully absorbing and suggestive scenes …
emotional climaxes that make the listener hold his
Jürgen Scharf, Oberbadisches Volksblatt
(Germany), 10.7.09

Die Arabische Passion

Fountain of Youth: «Refreshing »Fountain of Youth«at the Styriarte. … medieval fantasies of love and violence: overwhelming the Ensemble Sarband
around mastermind Vladimir Ivanoff.»
Reinhold Reiterer, Kleine Zeitung (Austria), Graz, 13.7.08

Sacred Bridges: «Apart from its equally exciting and
symbolically strong concept, the performance was
also musically convincing … 
A concert a long way
fromany crossover randomness.» Stä, Hamburger Abendblatt (Germany), 28.1.08

Sheherazade: A Great Love: «Enchantingly sweet bridgings … Dilek Geçer''s many shaded, lyrically sweet soprano was the connecting element … indeed amazing as a stylistic balancing act … 
Director Vladimir Ivanoff preserved this evening's narcotic sweetness.» 
Matthias Wagner, Kronenzeitung,
Graz (Austria), 15.7.07

«… This symbiosis made an exceptional
master concert a successfully integrated work of art
with a highly instructive background.» B. Hoeltzenbein, Neue Westfälische (Germany), 3.11.06

The Waltz: «You can literally see the envoys'
stagecoaches rattle back and forth between Vienna
and Istanbul, 
so skillfully interlaced are the
compositions from both cultures … 
These different
characters are excellently underlined by the two ensembles.» 
Anja-Rosa Thöming, FAZ (Germany), 3.12.05

Sacred Bridges:
 «… Ivanoff effortlessly connected
on the concert stage what is utopian on the global
that nothing stands between Christians and
Jews and Muslims. Except for «and».» Michael Tschida,Kronen Zeitung (Austria), 4.6.06

The Waltz:
«Concerto Köln and Sarband built a
bridge on the stage of the Festspielhaus in Bregenz,
a strong bridge 
between Orient & Occident.»
Vorarlberg Online (Austria), 18.5.06

The Arabian Passion:
«It is Vladimir Ivanoff's
strong point, to join cultures and to build musical
bridges between Orient and Occident. 
With the
«Arabian Passion» … he succeeded in a brilliant
way. Heart, mind, gesture and communication with
the other artists were merged into an intensive whole. …  I could not have imagined more beautiful music for Good Friday.» 
Franz Szabo, Salzburger
Nachrichten (Austria), 4/06

Sacred Bridges:
«… this was more than an ordinary
concert, this was a ritual celebration of bridge-
that joined people and religions … fascinating unityof voices, instruments and physical
expression … 
completely rounded, amazing and full
of hope how people can come together, independent
of their origin, religious tradition 
or even detachment from religion … The Psalms of David are a quite stable roof for understanding.» 
Reinhold Lindner, Freie Presse (Germany), 19.7.05

Sacred Bridges:
«Exciting bridge-building with musical depth … perfectly natural merging
of two sound worlds …» 
Susanne Dietz,
Maintal Tagesanzeiger (Germany), 18.7.05

«... a magic evening - extraordinarily fascinating works, full of colours and warmth …» Renato della Torre, Messagero Veneto (Italy), 17.7.04

Satie en Orient / Danse Gothique:
«… The choice of repertoire, the congenial orchestration and the empathetic, imaginative musical performance turned this evening not only into an exceptional experience,
but also into balm for the soul. The audience felt greatly enriched.» Klaus Winterberg, Kölner Stadtanzeiger (Germany), 20.2.03

Son of the Sheik:
«There, at the borders of Europe,
where our eurocentric sciences and arts stop,
Vladimir Ivanoff just takes off … » Thomas Muttray-Kraus, Oberbayerisches Volksblatt, 3.2.01

Satie en Orient / Danse Gothique: «Ivanoff crosses
borders and thus finds a new music which transfers
our dreams about the Orient into a soundscape.»
Franzpeter Messmer, Fono Forum 11/00

« ... a particularly delicious program, as
much for the refinement and accomplishment of the
ensemble's players as for the experience of hearing
music that is unquestionably «other», yet somehow
There's much to take away from such a
concert.» Michael Manning, The Boston Globe, 15.6.99


A Breath from Paradise: «Intoxicating globetrotting … The palpable joy of the musicians to discover the Old again, and to replenish it with exotic timbres, electrified the audience very soon. … music can be that sensual, spirited … an evening seducing us to dream, by conquering time and space with ease … and finally proves, how thrilling and connecting a good concert can be.» Nicole Czerwinka, (Germany), 12.5.16

Breath from Paradise

The Perfect Light: «Ensemble Sarband connects
Christian with Muslim music - 90 worthwhile minutes - Saturday night in the abbey, Sarband did its name proud. "Sarband" means connection. The artists not only succeeded in combining Christian and Muslim Music in a seamless way, but also connected with the audience. A transcultural dialogue, full of respect, with music, not words.
The group captivated the listeners from the first minute on …» Sven Holler, Die Rheinpfalz (Germany), 30.9.14

Son of the Sheik: «Sparkling finale: "Orient meets Occident" combines a silent movie, dance and music in a strong total experience. If you missed this, you missed something superb: The final performance of
"Orient meets Occident" … enchanted the audience. The Europasaal is sold out, the atmosphere is
terrific … And how they play! The chamber orchestra unleashes a sumptuous abundance of colors … » Frank Piontek, Nordbayerischer Kurier (Germany), 28.08.14

Son of the Sheik

Red Apple - Black Earth
«Sarband revealed the profound sensuality of these
love songs, dances and harvest chants … accompanied by sonorous and high spirited arrangements and spectacular improvisations -
especially the bard Kemal Dinç showed entrancing
encounters between Oriental scales and
Western harmony.» MW, Kronenzeitung (Austria), 22.4.14

Red Apple, Black Earth

Voice of the Blood: «Ensemble Sarband makes a strong impression. That all features of a concert are perfect, that just everything is perfect, is a rare experience. Such a great moment was actually granted to the listeners of the program "Voice of the Blood" … The harmonious and thrilling repertoire selection, the musicological expertise of the artists, coupled with contagious natural musicianship, the stylistically confident and charming performance that never betrayed the deeply religious significance of the works, the very high musical level, united with interpretative ardor, allowed the audience a spellbound immersion into geographically and chronologically alien worlds and created an uplifting experience. For a long time, Sarband, under the direction of Vladimir Ivanoff, belongs to the top early music ensembles, however takes a special position, apart from customary comparableness … While Miriam Andersén with her diamond-clear soprano soars up to ethereal heights, Fadia El-Hage delights with a stunning voice range, sultry and mellow, down to full-bodied male profundity, and made the unaccompanied Aramaic chants highlights of the concert. Vladimir Ivanoff supported the appreciation of the audience with instructive elucidations and accompanied most of the songs with frame drum and lute. The lute developed a wonderful interplay with the harp in the sefardic ballad "Una tarde de verano", that, with Fadia El-Hage's devoted performance, was the climax of the concert, apart from Miriam Andersén's masterful rendering of the apocalyptic vanitas chant "Audi pontus"» wit, Wiesbadener Kurier (Germany), 16.8.13


«Sacred Bridges reach across boundaries: Ensemble Sarband and Company of Music excited the audience with their program «Sacred Bridges» …
An incredibly homogenous sound was created, which made forget perceived differences and actually built not only bridges, but tore down walls … an extraordinary enjoyment. Perfectly intoned,
intelligently phrased and performed with passionate
intensity.» Michael Wruss, Oberösterreichische Nachrichten (Austria), 11.7.12

Our Father Abraham: «With this program, Ensemble Sarband - highly praised regular at the Styriarte and Psalm Festival since many years - enthralled its audience in the List-Halle. Under the artistic direction of Vladimir Ivanoff, the multicultural group performed with intense focus, depth and vitality … Thus, Ensemble Sarband succeeded in creating what had been announced in the playbill: art connecting peoples.» Eva Schulz, Kleine Zeitung (Austria), 1.7.12

Our Father Abraham: «Brothers, ardor, ornaments. A virtuoso authenic performance ensemble from four mediterranean countries centered around German-Bulgarian director Vladimir Ivanoff sketched a colorful Muslim-Jewish double portrait of the forefather Abraham. …incredibly sensitive and musical …» Matthias Wagner, Kronenzeitung (Austria) , 1.7.12

«Ensemble Sarband demonstrated impressively, how beautiful music from times gone by can be… Under the title «Vox Feminae», the wonderful voices of Miriam Andersén and Fadia el-Hage sounded in the church … a concert, which many will remember for a long time, as the applause made very obvious.»
Dorit Schlemermeyer, Weser-Kurier (Germany), 19.3.12

Vox Feminae: «Understanding unnecessary: goosebump-inducing voices suffice! Enthralled their audience: Sarband! The two brilliant soloists Miriam Andersén and Fadia el-Hage sing in Aramaic … as well as in their respective native languages. Their powerful and emotional renditions comprise songs from the early Christian Oriental repertoire, plainchant by Hildegard von Bingen and Birgitta of Sweden, spiritual songs from rural Sweden and pieces from the 13th-century Codex Las Huelgas. Although hardly anybody in the audience understood the pieces' contents, the excellent singers presented an enchanting, even affecting concert … In the end, the applause was incessant… A very successful performance with great acoustics in the beautiful atmosphere of the church.» Pia Zarsteck, Kreiszeitung (Germany) , 19.3.12

Music for Emperors & Sultans: «Under the direction of Markus Poschner, the orchestra [Dresden Philharmonic] performed with the multinational ensemble Sarband, in a way both sensitive and stirring. ... a subtle dialogue, atmospherically evocative ... a delight for audience and musicians. The audience has rarely ever applauded so persistently and so cordially» Karsten Blüthgen, Sächsische Zeitung (Germany) , 30.1.12

Arabian Passion: «Those who heard and saw the Arabian Passion according to J. S. Bach on Saturday evening in the imperial palace, shining in changing light, could not avoid the impression of listening to some kind of «music of the future». Music of a kind never heard before,music that leaves traces … These moments of surprise are not only witty, but also performed in such a powerful way they deserve a review of their own. The Arabian Passion was at first a feast for the senses, with images,  colours and incredibly powerful sounds.» Ulla Meyer, Neue Westfälische (Germany), 4.10.11

Arabische Passion

Sacred Bridges: «Performing masterly on fiddle, kanun (psaltery), reed flute and frame drum, the group around Ivanoff supported vocal soloist Mustafa Doğan Dikmen, improvising emotionally absorbing meditative as well as rhythmically lively interludes and accompanied the vigorous chorus with unfamiliar yet captivating creations. … Three gracefully rendered psalm motets … by Dutch composer Jan Pieterszoon Sweelinck topped off this unusual concert which was celebrated by the audience with applause lasting several minutes.» Landeszeitung (Austria), 31.7.11

The Arabian Passion: «… with their natural interplay they lent to Bach's music an intensity that is unfortunately all too seldom heard. Already after a few minutesthe exoticism of the performance made way for afeeling of musical sincerity …
And it was a feast for the senses to listen to this conversation: Gilbert Yammine's scintillant qanun soli took turns with the tantalising singing of Fadia el-Hage, who enchanted the audience with her velvety yet extremely expressive voice …» Marc Hoppler, Der Landbote (Switzerland), 1.2.11

A West-Eastern Divan: «Alternating with the musical performance, actor Dominique Horwitz enthusiastically reads excerpts from various poetical works – from Baudelaire to Heine and to pieces from Goethe's collection «West-Eastern Divan». This soiree is about wine and passion, intoxication and ecstasy – but essentially about God and faith. Vladimir Ivanoff is the musical director, equally captivating as a percussionist as well as responsible for the choice of poetry and music. Mustafa Doğan Dikmen enchants the audience with his ney and his vocal art. Celaleddin Biçer, ney and kanun, and Ahmet Kadri Rizeli with his bowed string instrument Kemençe provided unique sounds.The music is supplemented with Dominique Horwitz' singular recitation, whose passion and masterful mimic art turn this poetry into an extraordinary experience.»
Noreen Hirschfeld, Göttinger Tageblatt (Germany), 23.9.10

Passio-Compassio: «This brought about astonishing musical encounters ... the famous hymn «Wenn ich einmal soll scheiden»: Modern String Quartet 
introduced it, swinging to the cello's bass line,
Cologne-based choir Vocanima, Sarband and soloists Fadia el-Hage and Mustafa Doğan Dikmen joined in celestial concord..» Max Florian Kühlem, Ruhrnachrichten (Germany), 19.9.10

Passio-Compassio: «Sitting with his back to the audience,Vladimir Ivanoff acted as conductor, giving tone and time to the ensemble, beating the frame drum with spare precision. The frame drum proved to be the connecting, driving force... The approaches to merging Orient and Occident presented here were certainly original and creative. Baroque melodies were enriched with "alien" legato passages on the flute ney. It appeared in a mysterious light owing to Arabic string glissandos on the solo violin. Lines of baroque counterpoint flowed seamlessly into artful Arabic maqams. Emphatic, Arab-style solo singing by powerful-voiced Fadia el-Hage from Beirout and Mustafa Doğan Dikmen (Istanbul) encountered ethereal drones of vocal ensemble Vocanima from Cologne, which mainly typified European Early Music. … And as a climax an intense, aural as well as visual trance arose. Seven Sufi dervishes from the Golden Horn, clad in flowing white garments, found their way into their circling, meditative movements. In this moment, the word «trance» did justice to its proper meaning: trans-ire: transition into a higher stage of rapture.» Stefan Pieper, nmz (Germany), 19.9.10

Vienna 1683:
«Perfectly collective musical performance
distinguished both ensembles from Orient
and Occident ... Visible and audible delight of all
musicians in the experience of collective
performance ... captivated the enthusiastic audience
in the Helmut-List-Halle, until they were allowed
to contribute their frenetic applause as the din
of  a peaceful battle. What an outstanding concert!»
Franz Szabo, (Germany), 7-10

The Perfect Light: «If the Stadtkirche was sold out for the opening show, the concert of Ensemble Sarband brought it to the limits of its capacity. More was impossible. …This kind of music has not been heard here before. The show was already intriguing because of the authenticity of performers and performance. … Two brilliant soloists stood in the centre: The Swede Miriam Andersén, an almost mythical appearance, tall, slender with white-blonde long hair and a crystal clear soprano voice with dark timbre … Congenially at her side the Turk Mustafa Doğan Dikmen, whose vigorous voice filled the nave effortlessly with a variety of peculiarly Oriental guttural sounds. Warm and haunting sounded the Quran suras about Mary and the birth of Jesus. ... At the end, the audience remained in almost reverent awe, which then erupted into persistent applause for the musicians.» Hans-Dieter Speck, Mitteldeutsche Zeitung (Germany), 20.6.10

The Perfect Light

Mohammed's Birth & Dream Voyage to Heaven: 

« … 
Two singers had the leading role: brilliant Mustafa Doğan Dikmen and astonishing Bekir Büyükbas … 
The musical chemistry was visible on stage. 
That the members of Sarband grunted their approval to particularly beautiful phrases of the singer was the best proof of this.» Stefan Grondelaers, De Standaard (Belgium), 25.5.10

Sacred Bridges: 
«Hearing their expressive voices that sound like far-away places, Orient and adventure,makes you want to cheer inwardly.

This was a very strong performance.»
Christopher Dömges, (Germany), 13.5.10

Sacred Bridges:
«With only three instrumentalists and one singer, Vladimir Ivanoff creates a whole universe of sound in his encounter with the RIAS chamber choir.» Martin Wilkening, Berliner Zeitung (Germany), 26.4.10

Vox Feminae: «… voices that transport us to other worlds …» Martin Caroso, ABC (USA), 27.10.09 

Llibre Vermell de Montserrat: 
«… Ensemble Sarband performed on a high musical level. The Osnabrück Youth Choir was equally at ease 
with every musical style. The audience in the sold-out church demanded two encores.» 
Monika Everlin, Haller Tagblatt (Germany), 23.6.09

Mohammed's Birth & Dream Voyage to Heaven: «Intimate sounds full of concentrated energy: Once again, Ensemble Sarband's contribution was 
an indispensable enrichment … Sounds spreading and fanning out in highly developed monophony 
deeply moved the audience.» Herbert Schranz, Kleine Zeitung (Austria), 10.4.09

Mohammed's Dream Voyage: «It is impossible to imagine the Easter concert series in Graz without Ensemble Sarband … 
Turkish classical music and spiritual songs from the Middle East were recited brilliantly and in an authentic way.»Wolfgang Stern, drehpunktkultur (Austria), 09.4.09

Shéhérazade in Paris:
«Closeness and distance
were the two poles of this enchanting evening … 

With her colorfully shaded soprano, Dilek Geçer
lent great intesity to Callisto Guatelli Pasha's song settings. 
In the second half, the audience was simply enthralled by this erotically charged singing.
Celaleddin Biçer on ney and kanun, Ahmed Kadri Rizeli (kemençe) and Uğur Işık (violoncello) 
created magical moments in their joint improvisations.»
fg, Main Post (Germany), 30.12.08

Cultures of Tolerance:
«On instruments hardly known in the West, witnesses of a 800-year-old and incredibly rich musical tradition 
are performed with astonishing depth, nuance and meditative calm …

Lebanese mezzo-soprano Fadia el-Hage's wonderfully warm voice sings splendidly ornamented improvisations … 
her colleague Doğan Dikmen praises Allah; and Miriam Andersen's clear soprano tells about the fates of crusaders.» 
Frank Heindl, Augsburger Allgemeine (Germany), 14.11.08

Sindbad the Sailor:
«… a chinese-iraqi-japanese
meeting on three levels … a fascinating «jam session», 
based on instrumental perfection… cheerful interaction … 
A lot of humour also in the
choreography of the Japanese dancer Kazutomi Kozuki.» 
M. Wagner, Kronenzeitung, 23.7.08

acred Bridges

Water Roses: «Sublime music in a highly focussed performance by Vladimir Ivanoff and his ensemble Sarband.»
Walter Titz, Kleine Zeitung, Graz, 12.7.08

Dream of the Orient: 
«Concerto Köln and Sarband fascinated with Turkish treasures, and the dance
of the Dervishes completed an evening 
that came up
to expectations. An inspiring night of fusion … 

The performance profited mostly from the five members of Sarband. 
Masters on their percussion and string instruments, … they played the key role in the realization 
of the Dream of the Orient in Vladimir Ivanoff's programme concept and arrangements.» César López Rosell, El Periódico (Spain), 12.3.08

acred Bridges

Vox Feminae / Voice of the Blood:
«Sensational live music: Fadia el-Hage's voice emerging from the innermost, and the crystal clear voice of Swedish singer Miriam  Andersén …» Silvia Nagl, OÖNachrichten (Austria), 10.3.08

Happy Birthday Dionysos, Jesus, Mohammed:
«When Fadia el-Hage raised her voice, it was like Easter and Christmas at once.» C. Hartner, Kronenzeitung (Austria), 22.3.08

Vox Feminae / Voice of the Blood: «Ensemble Sarband plays and sings the stars out of the sky.» Danielle de Regt, De Standaard (Belgium), 11.2.08

«…dreamlike tranquillity of the late medieval songs … great musical achievement» 
Kronen Zeitung, Graz (Austria), 12.4.06

Son of the Sheik:
 «… right under Valentino's
bedroom glancethey not only illustrated the
silent movie, but also presented a real masterwork
of music …» Uwe Mitsching, Bayerische Staatszeitung (Germany), 3.2.06

Sacred Bridges: «The force with which their vocalist, Mustafa Dogan Dikmen, presented Ufki's settings was nothing short of astounding.» Tweedy Flanagan, Happenings in the Humanities (USA),
Fall/Winter 05-06

Llibre Vermell de Montserrat:
«… the great moment for the expressively deep voice of Fadia el-Hage … impressive forcefulness 
of the Passion chant …
trance-like impact and deep meditation.
Mystical and full of genuine feeling …»
Kurt Witterstätter, Die Rheinpfalz (Germany), 4.10.05

Llibre Vermell de Montserrat: «Singer Fadia el-Hage made an impressive feature of the Arab influences
with her voluminous contralto voice
of almost male timbre, full of charisma and passion …  it was a journey through time, on which the audience let themselves be taken along for a bit, gladly and with a personal benefit.» rup, Speyerer Morgenpost (Germany), 4.10.05

Sacred Bridges: «Especially Mustafa Doğan Dikmen with his warm, powerful and intense voice caused frissons of pleasure.» 
Susanne Dietz, Maintal Tagesanzeiger, 18.7.05

«Vladimir Ivanoff's finely structured frame drum playing gives the whole it's perfection.» 
Frido Hütter, Kleine Zeitung, Graz, 18.7.05

The Waltz: «This is a fascinating recital, in which
Concerto Köln's period instruments join 
with the
Turkish ensemble Sarband and the haunting voice of
Mustafa Doğan Dikmen 
in pursuit of links between
the western waltz and Turkish music.» Stephen Petit, Sunday Times (USA), 19.6.05

Ecco la primavera:
«Singer and harp player Miriam Andersén's splendidly flowing voice was enchanting
as ever.» Sabine Fauland, Kronen Zeitung (Austria), 24.3.05

«Dogan Dikmen: a sage in every respect.» Clemens Anton Klug, Kleine Zeitung (Austria), 21.3.05

Satie en Orient: 
«Miriam Andersén - also on harp - almost supernaturally dominated the performance
with her mystically dark yet radiant voice that
pervaded the hall like ocean surf, exultant but tearing everything with it …A delicious and, above all,
relaxing evening!» Sabine Fauland, Kronen Zeitung (Austria), 22.6.04

Satie en Orient / Danse Gothique:
«… Miriam Andersén's crystal clear soprano perfected the gothic atmosphere.» 
Klaus Winterberg, Leverkusener Anzeiger, .2.03

«Fadia el-Hage, the excellent singer capable
of expressing an entire cosmos of emotions and stories
made the stylistic peculiarities shine with focused internalisation and expression.»
Gerhard Böhm, Dresdner Neueste Nachrichten (Germany), 2.7.02

Son of the Sheik: 
«Only the musicians of Sarband managed to inspire this period picture with the true orient.» Susanne Leuteritz, Süddeutsche Zeitung (Germany), 7.6.02

Vox Feminae: «The vocal performance … was perfect … The meeting of the Swedish and Lebanese singers even enhanced 
the beauty of the vocal colours. This admirable concert is achieved by merely three artists.» 
Guillaume Orly, L'Alsace Le Pays (France), 23.9.01

Satie en Orient / Danse Gothique: 
«Nothing compares to Ivanoff's art of playing the frame drum … » Franzpeter Messmer, Fono Forum 11/00

Dream of the Orient: «Many fascinating aspects,
but most of all the immensely sensitive team-work
of the two ensembles.» 
Roland Spiegel, Abendzeitung (Germany), 27.10.00

«There's much to take away from such a concert ... Their performances were uniformly engaging, striking these unaccustomed ears as being of the most exquisite, subtle inclination. Fadia el-Hage had not only a beautiful and expressive voice, 
but was masterful in both the variety and articulation of the many ornaments
that decorate the songs.» Michael Manning, The Boston Globe, 15.6.99


«"What the world needs now" promised answers to the crucial questions of our times, and - remarking this beforehand - they were furnished, not with pomp and circumstances, but with soft sounds … Sarband's music does not need labels, and this is why it leads to a deeper understanding of our world. It doesn't cross borders, but is unlimited, it is not modern, but timeless. Arab 12th century music, Bob Dylan, Giulio Caccini, Scotland, Spain, the USA. Musical streams flow into each other, touch, interfuse, and suddenly you discern the river of origin … from it, emotions permeate our ears, our hearts. They don't need explanations or translations: Pentecost and the answer to the question "what the world needs now".» hs, Lauterbacher Anzeiger (Germany), 22.5.18

Turn Back: «Der Abend begann mit der Rezitation einer Koransure und es war ganz erstaunlich, mit welcher Konzentration das über 1000-köpfige Publikum das ohne Pause ablaufende Programm von etwa 80 Minuten aufnahm. Am Ende wurden Musiker und Tänzer mit großem Beifall bedacht … es war ein großartiger und bewegender Abend, der uns Mitteleuropäern ein Fenster zu einer anderen Welt öffnete, die aber auch ein Teil von uns ist (oder sein sollte!) - ganz im Sinne des Goethe-Wortes: "Wer sich selbst und andere kennt, wird auch hier erkennen: Orient und Okzident sind nicht mehr zu trennen."» Der (Germany), 9.7.17

Turn Back: «Sarband Leiter Vladimir Ivanoff: Mit seinen Musikern aus verschiedenen Kulturen stärkt er das Bewußtsein für eine Einigkeit in der Vielfalt.» Katharina Hogrefe, Kronenzeitung (Austria), 9.7.17

Turn Back

Sacred Bridges: «Musik verbindet - Das Heinrich-Schütz-Musikfest hat gestern sein Finale mit einer fulminanten Aufführung gefeiert… Sie schlugen tatsächlich Brücken: Die Grenzen zwischen den Gruppen verschwammen, sie musizierten gemeinsam, zelebrierten auf diese Weise das Eintauchen in die Musik, und die Nähe zu Gott, dem das Publikum begeistert folgte.» Julia Reinard, Mitteldeutsche Zeitung (Germany, 16.10.17

What the World needs now: «Abschied und Hoffnung auf das Wiedersehen, Heimat und Fremde, Reisen zu den Horizonten und menschliche Wärme. Diese Hoffnungen in Liedern aus der Heimat auszudrücken - mit dem Gefühl, zu Hause zu sein - erfahren die Zuhörer mit betörend süßen Brückenschlägen. Nähe und Sehnsucht bleiben die Pole dieses hinreißenden Abends … Fernab von Schleiern der Folklore geht das Ensemble eine innige Verbindung mit dem allgegenwärtigen Thema der Liebe ein. Sarband schwelgt in Poesie. "What the World needs now" wird im spirituellen Klangraum der Klosterkirche zum leidenschaftlichen Appell an die Liebe unter den Menschen. "Was die Welt jetzt braucht, ist Liebe, nicht nur für einige, sondern für alle." Eine friedliche Fusion der Kulturen mit hinreißender Musik anstelle von Kampfeslärm. Die Musik als Ton- und Taktgeber wäre auch für die aktuelle politische Entwicklung zwischen Orient und Okzident die bessere Alternative.» (Germany), 31.8.16

A Breath from Paradise: «Das offene Experiment, Musik aus Europaund Asien genreübergreifend mit abendländischen und morgenländischen Schwesterinstrumenten anzustimmen und über das gemeinsame Spiel Wesenszüge des Musizierens an sich zu offenbaren, ging großartig auf. Das war so berührend und mitreißend, dass sich wohl niemand mehr fragte, was nun abendländischer Barock oder orientalische Folklore war, neu, alt oder älter, ausnotiert oder improvisiert.» Jens-Uwe Sommerschuh, Sächsische Zeitung (Germany), 17.5.16

Breath from Paradise

Lord of the Horizons, Collector of Musical Worlds
Alî Ufkî / Wojciech Bobowski (Poland, ca. 1610 - 1675 Turkey)
: «Das Eröffnungskonzert des Kölner Festes für Alte Musik hat ein kulturpolitisches Zeichen gesetzt. Die Verschmelzung von Ost und West, Christentum und Islam hat aktuellen Bezug.» Markus Schwering, Kölner Stadtanzeiger, 5.3.15

Lord of the Horizons, Collector of Musical Worlds
Alî Ufkî / Wojciech Bobowski (Poland, ca. 1610 - 1675 Turkey)
: «After the ensemble finished its appearance, the room was silent with delight. The audience froze in complete tranquility, only to exclaim ovations after some time. A very good start of the festival.», 19.8.13

The Perfect Light: «Church song as a liaison
between religions - Ensemble Sarband captivated the audience with Christian and Muslim chants - the German-Oriental performance by Sarband, directed by Dr. Vladimir Ivanoff, was a special treat in the program of the festival. The audience listened
entranced, and allowed the ensemble only to
leave home after two encores. A magical atmosphere emerged in the soft lightnof the abbey, which certainly also would have pleased Robin Hood, Emperor Barbarossa or Emir Saladin. The whirling dervish in the background, turning in trance, was the icing on the cake. A striking performance …» Martin Köhler, Rhein-Zeitung, 1.10.14

The Perfect Light

West Eastern Divan: «Praise of drunkenness - Enchanting homage to Hafiz and Rumi - An exhilarating, downright intoxicating experience at sunset, under the open sky, with no hangover the morning after» Reinhald Kalb, HFN (Germany), 6.8.14

«Intoxicating poetry and timeless music created
an exhilarating sound space, enriched by the
twittering of birds, swooshing of leaves and some raindrops. The composition of traditional
Franconian atmosphere, Turkish and Persian tradition and German romanticism enchanted the audience.» Jens Voskamp, NN (Germany), 5.8.14

The Perfect Light: «Meditation and dance, or how to unite hope and joy to truth. From the first song, the audience in the Palacio de Congresos complied with the sincerity of the proposal to celebrate the birth of both prophets … Drama and meditation, respectful celebration, thanks to the musicians … solemnity
spread in the concert hall … Sounding light in the
clarity of their instruments … Thus, the performance of Sarband was connected to the listeners in every moment … old songs in faithful interpretation, wonderful and transcendental … A beautiful and memorable concert.» El Periódico (Spain), 12.8.13

The Perfect Light

Sacred Bridges: «Ensemble Sarband, the Neue
Kammerchor Potsdam and soloists of the
Cammermusik Potsdam lighted a beacon of spiritual
unity in diversity. … Once more, music thus shows a way, how the insanity of the world may be peacefully and harmoniously overcome.» Babette Kaiserkern, Potsdamer Neueste Nachrichten
(Germany), 26.11.12

Music for Emperors & Sultans: «Across all differences in form and sound, parallels and kinships could be discovered. Turkey was not an exporting country in a musical sense, but, in turn, absorbed Western currentsy» Karsten Blüthgen, Sächsische Zeitung (Germany), 30.1.12

Llibre Vermell de Montserrat: «Osnabrück Youth Choir and Ensemble Sarband succeeded in creating an excellent work of art – but it was not only empowered by the musicians' skills, but by the spirit breathing in the music» Allgemeine Zeitung (Germany), 5.9.11

Odin's Daughter: «With instruments such as Gothic harp, cow horn, hand drum, the wind instrument Ney, the violin-like Kemenge and the Asian zither Kanun the artists created a unique atmosphere, in which not only the diverse musical cultures intertwined harmoniously, but, in the general context of the suspense-packed framework plot, a bridge of reconciliation was built.» Wolfram Graf, Nordbayerischer Kurier (Germany), 25.8.11

Odin's Daughter

The Arabian Passion: «The best is saved for last: …
It was like a musical message of peace that was sent
out into almost the whole world from the Egidienkirche via radio: The cultural differences between Central Europe and the Middle East, which cannot be denied, are no reason not to search for a common emotional and ethical level. … A moving finale, enduring applause.» Jens Voskamp, Nürnberger Nachrichten (Germany), 31.5.11

Sacred Bridges: «The audience followed the 80-minute performance (without break) intensely focussed and applauded frenetically.» HL-Live (Germany), 31.7.11

«Moving finale. The Arabian Passion built a magical bridge between Orient and Occident.» Klaus Ehring, Thüringer Allgemeine (Germany), 29.3.11

A West-Eastern Divan: «A feast with atmosphere …
They performed stirring festive pieces from old
and new Orient … The «divan»– in the Orient
a gathering of political, philosophical and festive
nature – became a fest to join in for everybody.»
Delmenhorster Kreisblatt (Germany) , 24.9.10


«Passio-Compassio is a daring venture,
and it succeeded: Bach and Sufi mysticism. …
The connection between the world religions
Christianity and Islam, the issues of sorrow and
empathy, love and passion – this programme got right to the heart of it with irresistible wisdom and rare harmony … The hypnotically whirling dance of the dervishes and words of the great Sufi mystic Rumi, projected to the large screen, made clear on a different level than that of the rational mind what this means: a love divine.» Max Florian Kühlem, Ruhrnachrichten (Germany), 19.9.10

Passio Compassio

Dream of the Orient:  «It was a light-hearted and cozy evening … in fact, something like a fusion of both musical cultures really happened … There was even dancing: two dervishes were rotating in supreme elegance … A light-hearted evening, making many happy. Successful.» Stefan M. Dettlinger, Mannheimer Morgen (Germany), 22.7.10

Cultures of  Tolerance: «Sarband unfurl a panorama
from Al-Andalus via Algeria to the Ottoman Empire.

A significant part of the cheers was directed at the vocal soloists. Exciting acoustic images are conjured, in which the origins of European tradition appear. The audience returned home, dazzlingly enriched with sensations, 
experiences and information. It is very beneficial if Europe is not the centre of the musical world for once.» 
Monika Lanzendörfer, Schwetzinger Zeitung (Germany), 3.5.10


The Perfect Light: «Building bridges is easier said than done - on the concert stage it worked out perfectly! 
A perfectly performed choreography, a stringently woven golden thread: recitations and music telling the births of Jesus and Mohammed are interwoven without gaps into a diversified and entertaining program.»
Marion Aigl, Wiener Zeitung (Austria), 23.12.09

Sacred Bridges: «Sarband's music speaks for itself -
their message of intercultural understanding does not need any explanations.» Frank Heindl, DAZ (Germany), 11.11.09

acred Bridges

Sacred Bridges: «Like a beautiful dream.
After this musical voyage through three cultures,
the end of the concert was like waking up 

from a beautiful dream.» Stephanie Knauer,
Augsburger Allgemeine (Germany), 4.11.09 

Sheherazade: A Great Love:
«… an intoxicating evening … » Monika Köhler, (Germany), 24.10.09


The Arabian Passion: «… this change happens astonishingly fast. How naturally this connection between the 
two supposedly alien cultures suceeds … Bach rose from his pew and seated himself on a prayer rug. 
Nevertheless the sense of the prayers
remained the same … The result is simply fascinating. 
A sounding plea for tolerance and peace.» Elisabeth Schwind, Südkurier (Germany), 10.7.08

The Arabian Passion: «Bach belongs to the whole world.» Kölner Stadtanzeiger, 07.4.09

Mohammed's Dream Voyage: «Of first-rate musical quality, this evening emphasized at once the airiness
of vision 
and the grave importance of dreams.»
Christoph Hartner, Kronenzeitung (Austria), 10.4.09

The Arabian Passion:
«The programme was permeatedby a huge sensitivity for sound and a genuine understanding of musical expressions of different continents and cultures. The arias «Es ist vollbracht» and «Erbarme dich» as well as familiar chorales were further highlights in this out-of-the-ordinary evening, followed in breathless silence 
and acknowledged with appreciating applause by the audience.» Hans Rühl, Rheinische Post (Germany), 23.12.08

Arabian Passion

Water Roses: «It was a performance heightened
into Magic … an authentic drama of cultic intensity.»
Matthias Wagner,Kronenzeitung (Austria), 12.7.08 

Vox Feminae /Voice of the Blood:
«Harmonic fusion as Utopia –it can be found in music … this results in a tapestry of sound, 
in whose texture the Oriental and Occidental strands have become hardly discernible 
 – a wonderfully melancholic ideal. …» Nicole Strecker, Ballettanz (Germany), 4-08

Vox Feminae / Voice of the Blood:
«Like a miraculous balm applied to our wounds.» Les Echos (France), 28.4.08

Happy Birthday Dionysos, Jesus, Mohammed:
«With genuine enthusiasm, the audience thanked
for an unforgettable concert that brought different cultures 
much closer together than political hate campaigns could ever set them apart.» Franz Szabo, Kritisches Journal der Alten Musik (Austria), 22.3.08

«As a gentle memento against collective madness, intercultural ensemble Sarband tries to build «Sacred Bridges» together with the six King's Singers …
a sounding jacobs ladder woven from christian,
and muslim psalm settings … How enchantingly oriental this may sound! one marvellingly became aware and widely opened one's classically limited hearing.» Lutz Lesle, Die Welt (Germany), 28.1.08

Sacred Bridges: «The music dances in the ears! …
it sounded as if heaven and earth touched, … an island of bliss, where cultures walked hand in hand.» Wolfgang Nussbaumer, Gmünder Tagespost (Germany) , .07.07

Jerusalem Delivered: «An enchanting dialogue … Surreal melancholy, tender and captivating.»
MW, Kronenzeitung (Austria), 7.7.07

Ruhrtriennale 2010

The Arabian Passion:

«Bach would have turned in his grave.
Then he'd have stepped out, dusted himself
and paid attention … 
The songs were most haunting when vocalist Fadia el-Hage reverted to Arabic.

At those times, perhaps, Bach also wept.»
The Business Times (Singapore), 14.6.07

Arabian Passion

Sacred Bridges: «But yes! The solution of the Middel East conflict lies in the hands of music. Tell it to the politicians! The proof was given yesterday evening at the Accademia di Santa Cecilia.» Mya Tannenbaum, Corriere della Sera (Italy), 3.4.07

Sacred Bridges:
«A treat for the soul and the intellect … To write about the performance cannot do justice
to the spell it cast. 
Sacred Bridges aptly fulfilled the vision of a spiritual world without borders.» Elizabeth & Joe Kahn, Classical Voice of North Carolina (USA), 25.10.05

Vox Feminae:
«This is what I call mysticism.»
Svenska Dagbladet (Sweden), 28.7.05

Sacred Bridges:
 « … touching the bounds of ecstasy … The merging of the two sound spheres resulted
in a caleidoscope, 
of whose components you would want to miss none.» 
Elisabeth Risch, Frankfurter Allgemeine Zeitung (Germany), 18.7.05

Sacred Bridges

Dream of the Orient:
«When Sufi Dervishes whirl
under the cross in the cupola of St. Irene in Istanbul, 
accompanied by a Cologne classical orchestra,
Sarband have again succeeded in building cultural bridges between cultures …» Susanne Güsten, (Germany), 23.6.05

«Received divine energy … Doubtlessly,
more than a dance was performed here - a ritual,
a prayer took place 
… insights into Sufi mysticism … the energy of tranquillity» MWo, Kölner Stadt-Anzeiger (Germany), 27.12.03

Dream of the Orient: «An immense ode to peace.» Alain Maestracci, Nice Matin (France), 10.8.03

ream of the Orient

Dream of the Orient:

«… a remarkable co-operation.» Michael Tegethoff, WZ (Germany), 10.06.03

Dream of the Orient:«A Rainbow of timbres and traditions.» The New York Times (USA), 21.8.02

Dream of the Orient: 
«... gratifyingly productive
two-way relationship between the groups» 

Shirley Apthorp, (USA), 7.5.02

«Music that explores emotion.» Geoff Chapman, Toronto Star (Canada), 2.3.2000