„The musicians of c/o forego a conductor. And still play a Beethoven symphony. His first one, in C-Major. On the whole, that goes well; the fiendishly fast tempi are taken with great precision – an astonishing feat, given the bathtub-like acoustics of the Heilig-Kreuz-Kirche. The fact that their joint music-making works under these circumstances is proof of the uncommonly strong group spirit of these 30 musicians from Baltic, Scandinavian and Central European countries. [...] The stormy enthusiasm of the youth orchestra is prolonged in a stylistically domesticated fashion, and the fact that they alone are responsible for the artistic result and cannot hide behind a conductor means that all the musicians exhibit additional alertness. [...]Therefore, we are sure to hear more from c/o chamber orchestra – thus the name of the ensemble – and that is something to look forward to.“

(Clemens Haustein, Berliner Zeitung, July 22, 2014)


“Here the 20s vibrate in their explosive, wonderfully entertaining mix: the harmony exaggerated and squeezed to the last drop, the series of quotations elevated to a shameless collage of motifs. Whether a wedding or funeral procession, a march or a waltz, a galop or a rumba - it's always a "Divertissement", as Ibert's opening piece is so simply but accurately named. Weill's "Little Threepenny Music" captivates again with its unmistakable theatrical sense, Milhaud's "Le Boeuf sur le Toit" with its surreal Latino charm. The c/o chamber orchestra played these tricky pieces without a conductor, but with a commitment that holds the music together from inside.”

(Ulrich Amling, Der Tagesspiegel, August 23, 2015)