"ORENI ENTHRALLED WITH MASTERFUL PLAYING"
"An exceptional talent... He controls the organ so explicitly and matter-of-factly that one was simply astonished. Paolo Oreni played with the acoustics as if he had grown up in the church, experimented with dynamics, tempo and colours as if he had set out to try out every possible combination... so much capability and maturity... There probably hasn’t been anything like this in Hechingen before."
Christoph Müller (9-03-2006)
"World-class organist... A top-drawer concert... stupefying technique ... spectacular…" About the improvisation: "He produced a broad and multifaceted work for the organ. That was the Art of the Organ at its finest."
(7-03-2006)
"Paolo Oreni unfolded this Instrument’s possibilities in a until now never tested way – be thanked his Technic, which allows him to exceed the usual limits - but over all the Organist’s genial play is to owe."
(19-10-2005)
“ART OF THE IMPROVISATION’S MASTER”
"Paolo Oreni astonished with a carefree facility and virtuosity." ...About “Prometheus“ by Liszt/Guillou: "So furios and virtuos fight could be set in scene by Paolo Oreni, suffering or boldness, however with a never seen dramaturgic bass drum impact."
(11-10-2005)
“THIS MAN IS SENSATIONAL”
"Paolo Oreni proved as a true magician. His improvisation was not the only impressive one, but also the Mozart’s, Listz’s and Prokofiew’s Transcriptions - by him all by heart played - were extraordinaries and didn’t miss at brilliance, precision and musical expression strength. This man is a Sensation."
Gerhard Menzel (24-09-2005)
“ORENI BEWITCHED WITH HIS ORGAN PLAYING”
"Never dreamed Sound dimensions opened themselves in the St. Martinskirche and carried a fascinated audience. ...shining Virtuosity ... pure energy and palpable play joy..."
"The sound variations [through combinations], the musical intensity, Oreni’s play’s technic and virtuosity, blow up the usual Organ’s framework ... How this musical force and these refined sound mixtures can be instantaneously recreated, at this level of absolute perfection, is with difficulty conceivable. An Extra-Class Musician worked here, making forget all the passed and usual organistic Representations."
Johannes Rahn (11-07-2005)
“SUPERSONIC AS A PIANIST – PAOLO ORENI’S TALENT TRANSFORMS THE ORGAN IN A TURBO”
"…A virtuosous organist, who plays by memory and overclasses the pianists because, not only his hands but also his foots go in a supersonic speedness, and he isn’t limited to the “only” repertory but improvises, creates, builds instantanely sounds’ and colours’ phantasmagorias.
Spectacular, really, his performance decidely oriented on the wildness. ...The Liszt’s Orchestra, in the Prometheus Symphonic Poem, the Prokofiev’s Piano, in the redoutable Toccata op.11, are transfered on the organ and executed without the smallest tireness, indeed giving the taste of an inconceivable spontaneousness. But Oreni’s virtues do not limit themselves to the virtuosity: his Mozart’s, Liszt’s or Prokofiev’s readings let clearly appear an intensive reflexion on the transcription’s sense as a work for the re-creation and re-contextualisaption of the original. ...He improvised in a rhapsodic fire, an effervescence of timbrics and expressives effects."
Annely Zeni (13-03-2005)
24/VII/2005: "According to me, Festivals Habitué, Pianist and Organist myself, it was the Best Concert of the Year."
31/XII/2004: "... the 25 years old Paolo Oreni’s phenomenal Gifts..."
Eckhard Jakob (24-07-2005)
“PAOLO ORENI, THE RISING STAR IN THE ORGANISTS’ SKY”
"Paolo Oreni carried the Bach's Trio-Sonata on its highest level, by memory - as the integral concert (!). In this dry church’s acoustic, in the transparent Triosonata, the possible smallest distort note would be heard, and Oreni gave us a perfect version, in a sovereign clearness. ...In the Schumann’s Fugue on BACH’s Name, Oreni varied the stops very quickly, underlining each Theme with its own colour, revealing each note of this Masterwork. ...Oreni improvised in a very personal language, a great outline of composition, sublimating the given Themes, and always avoiding to fall into a sterile style’s exercise. ...A long ovation greeted this concert performer at his career’s dawm, and who'll let speak about him for a long time."
Edgar Walhorn (10-04-2004)
"A real “must”, Bach’s 6th Triosonata, where the organist conduced with a superb technic the slipping musical lines, and never reducing the music in a dish accademism. [He played with] a royal ease. ...Then an improvisation as a travel, a lot of rythmics and harmonics luckies finds. ...The enthousiastic applause were thanked with any Encores, carried with the sparkling liveliness together with the rigour we know yet in him; a honourable evening-final for a high-light Concert, offered by a Musician as Paolo Oreni, whose we invite you to follow with the maximal acuity, because you'll never be desappointed."
Francesco Chiari (10-07-2004)
"During the Dupré’s virtuose interpretation and the Prokofieff Toccata’s powerfull mechanics, he worked with an unstoppable force. ...Improvising, he obtained differents sounds and colours, characterfull variations, with a great flowing musical fantasy, and all of this directed by a great force of creative Will."
Lothar Heinle (23-03-2004)
"…He played our Organ in a never-heard way, in the recent times, too..."
(2002)
"Paolo Oreni, highly-gifted improvisor and one of the most exceptional technicians, is one of the most interesting young organists of his generation. ...Since his appearance on the scene all international critics agree that they are dealing with a brilliant interpreter, whose musical sensibility and highly virtuosic playing have already brought him several prizes."
(12-06-2001)
"The Hommage to Bach-Concert by the young Paolo Oreni was a success. ...Paolo Oreni, just 21 years old, plays always by memory, from Bach to Contemporains, since the classics Masterworks Transcriptions to his own Improvisations."
Carla Malzanni (20-10-2000)
"Oreni’s skill was appreciated. As the best concertists, he played the one hour long concert by memory. Free of the text’s slavery (and of the turn-pages assistant), the rhythm run and sweets up, overflows and overwhelms every elements."
Maria Lauretta Moioli (25-09-1999)
"Oreni build a musical structure, and he surveyd the manuals as speed as a flash." ... "At the end, the entire public realized to have heard a Big of the organistic art."
(19-09-1999)