Venerem - Press


Audiophile-Magazine, Paris, Joël Cavassus
"...this would almost be a new musical genre, a radically new music, even if it is based on old scores.
The quartet's improvisations sometimes shatter the straitjacket of the score and strongly contribute to this sensation of hearing current musical creations while remaining familiar..... We therefore await the release of the next album with curiosity. A big congratulations to this initiative which is clearly off the beaten track.", Jonathan Woolf
"Venerem is an ensemble that takes what it terms ‘European art music’ by the scruff of its neck. When you realise that the group consists of soprano Laureen Stoulig-Thinnes and her accompanying trio of Marlo Thinnes (piano, Fender Rhodes and arrangements), Simon Zauels on electric bass and percussionist Elmar Federkeil you will realise that this represents an exchange between aesthetics that is not for everyone...If you want Vivaldi to be jazzed with tempestuous singing over athletic drums with a B section sung more temperately over Fender Rhodes, then take a listen to this rather wacky (but not too wacky) disc."
Musik & Theater, Switzerland, Reinmar Wagner
"The adaptations of Purcell, Handel, Strozzi and Co. are not just jazzy versions of baroque hits, but miniature works of art that live with stylistic tensions between jazzy and alienated harmonies, whimsical piano fantasies, baroque ornamentation practice and subtle shades of electronic colour."

Klassik Heute, Germany, Stefan Pieper
"Rock and baroque are not so far apart, especially when the sounds of the "new" instruments seem to have been created for them.
The old lives in a new sound world. The mysticism of distant centuries can be experienced up close at the same time, when Venerem opens the doors wide between a club stage and a quiet church hall."

Stereoplay, Attila Csampai
"Their historically oriented, charismatic art singing, however, is very carefully and sensitively transformed by the "modern" instrumental ambience of electric bass, electric Rhodes piano (or concert grand piano) and percussion into a current, jazzy-groovy sound image lined with clever improvisations, and filled so strongly with new life substance that this stylistically distant music suddenly comes across as familiar and charismatic as if it had now been newly composed..."