Critics
„...G. M. possesses an immaculate sound, brilliant technique, precise articulation...“
(Aurèle Nicolet)
„...listening to G. M.’s impeccable and suggestive performance is a true delight, even for those among us who do not count this instrument among their favourites...“
(Salzburger Nachrichten)
„...flute art of the highest order with speckless, brilliant technique, an endless host of nuances in sound character and absolute control of breathing techniques...“
(ANA-Passauer Presse)
„...The girlandes of Debussy’s sonata, the arabesques in Boulez’s „explosante-fixe“ sounded both familiar and complete in G. M.’s wholesome and sonorous flute sound...“
(Der Standard)
„...her chamber-musical, far-reaching sound came to fruition with a versatile and finely honed technique...“
(Burghauser Anzeiger)
„...and G. M.’s clear, elegant performance lent this flute concert (by K. Penderecki) an air of new romanticism...“
(Die Krone)
„...rarely has one been able to listen to such a powerful, vital, intense yet smooth flute sound, her dynamic spectrum was fascinating, her versatility breath-taking...“
(Passauer Neue Presse)
„...her technical abilities aside – her enthusiasm, her imagination, her expression and musical intensity have always been attributes of her style...“
(Emmanuel Pahud)
„...G. M. has mastered her instrument to the highest peak of perfection, whether it be in term of sound quality and colour, or her supreme finger technique and dynamic range. Yet apparently for her these are only the conditions which lead to her expression of music...“
(Hansjörg Schellenberger)
„...I have known G. M. to be a world class flautist, who performs extraordinarily successfully and effectively with the best and most famous. I recall her wonderful performances with Wolfgang Schulz and Emmanuel Pahud...“
(Milan Turkovic)
„...for the...famous virtuosa known as an uncanny specialist in contemporary music garners attention in her latest recording through tasteful reserve. This especially applies to the often over-used vibratos on most recordings today. G. M.’s always remains an inherent part of her sound and subtle aspect of style...“
(Flöte aktuell, Zeitschrift der Deutschen Gesellschaft für Flöte)
