Le Monde

sab 14 mar 2015

Orfeo & Eurydice at the Lyon Opera

« Enrico Onofri’s vivid, refined and stylistically irreproachable direction at the head of the Lyon Opera Orchestra, celebrated in the pit the sacred union of music and drama. »

Forum Opera.com

sab 14 mar 2015

Orfeo ed Euridice - Lyon

« Enrico Onofri’s direction is in perfect osmosis with the stage director’s choices, poetic and meditative, before celebrating the triumph of music at the end of the opera. »

Daily Telegraph

dom 22 mag 2011

Enrico Onofri and the Imaginarium Ensemble - concert at London Lufthansa Festival, May 22 2011

#1 of ten best concerts in Daily Telegraph's "Reviews of the Year"

"(...) Enrico Onofri and his ensemble offered something unique. Their performance of early Italian music brought a vanished way of feeling back to life. Onofri has made a life's work out of reviving the violin's sound in its early days in 17th-century Italy. He holds his violin (...) like a fiddler and turns the instrument into a wordless voice, pleading, cajoling, lamenting. Compared to the extrovert, brilliant modern violin, Onofri's sound seems as delicate as a reed, and yet it's always impassioned and enticingly strange."


lun 7 giu 2010


Enrico Onofri conducts without baton, with gesture more easy-going than nervous, and quick fast tempos which underline his historic way of performing. The Galicia Symphonic Orchestra (...) on last Saturday has been one more time the best instrument for Mozart's music (...). Playing with great precision, many colours and musicality, they did their best version of Symphony n.40. Onofri was able to take out all dramas from the score, since first modulations of the Molto Allegro (...)

Fanfare magazine

lun 15 set 2008

CD La voce nel violino - Enrico Onofri solo violin and musical direction

Onofri, who has demonstrated so rich an imagination in his performances with Il Giardino Armonico, endows these works, in collaboration with his ensemble, with an equally vibrant exploratory sense, not only of the richly varied forms, but also of the similarly kaleidoscopic instrumental colors and brilliant virtuosity. The colors may be generated by period instruments, but they flash so brightly that the message almost obliterates the medium. I’ve reviewed several collections of music from this period during the last decade and a half (...), and each time I’ve marveled at the music’s inventiveness—though never more so than in this recording. So again, urgently recommended.


Répertoire magazine

ven 15 feb 2008

9 de Répertoire - CD La voce nel violino

A lot of 17th century's violin recitals were inspired by the voice – or vocality – as a recognizable model, but just few of them have approached the goal like this one. Enrico Onofri doesn't stop to show us his affinity for this repertoire (...). He displays a wide range of charms and artifices, which sometime move us to forget the instrumental nature of his instrument; glissandos (port de voix and chute), suspires, harmonics trills, vibrato or tremolato, an incredible variety of colors (what an effect the airy sound in Mentre vaga angioletta!), sensual bowing, fast left hand, everything blended by the elasticity of a gymnast (...) To enhance his vocal aim, Enrico Onofri has an excellent idea, adapting some masterpiece: Armato il cor and Mentre vaga angioletta by the "divino Claudio", a canzonetta by Frescobaldi (Se l'aura spira, played by violin and harp, exquisitely delicate) and Ancor che col partire by Rognoni, where we never listened a diminution being so close to the voice. A contrast, very skillfully conceived, between madrigals where the voice becomes an instrument, and sonatas where the instrument becomes a voice (...)
Here's, in a few words, a recording that I warmly recommend (...)

Diapason magazine

mar 15 gen 2008

5 de Diapason - CD La voce nel violino

The variable staff of the ensemble Imaginarium is unique and amazing; (...) The program includes the most part of the pre-baroque Italian hits (...) Enrico Onofri's bow renounce an easy way to play. Sweeping away the custom of an univocal playing which turns into the rules (of methodical articulation systems), he decorates these sonatas with an endless range of colours (...) His very imaginative playing doesn't need outrageous contrasts or mannerist rubatos; the infinite number of expressions speaks out, without turning to overused artificial effects (...).We rarely listened such a variety of joyful and fast "flattement" introduced by Onofri into his sound, like an ornamental vibrato. (...) the madrigals are very exciting: the "Mentre vaga" by Monteverdi, played by two violins behalf two tenors, offers unheard colours, in order to explore the real relationships between vocal and instrumental eloquence. A success.