When ChorWerk Ruhr and Florian Helgath perform at the Ruhrtriennale, musical enjoyment at the highest level is guaranteed and
when the ensemble recites the original chorales of J.S. Bach in perfect, vocal balance with perfect articulation and phrasing in almost dancelike floating elegance, the rugged contrasts and
fractures of Kagel's comments enter all the more blatant in the ear (...). Equipped with whispering bags, the choir hisses, sibilates and calls out parts of the chorale segments as virtuously as
it presents Bach in impeccable beauty (...). The audience was thrilled at Zeche Zollverein in Essen.
Allgemeiner Anzeiger, Pedro Obiera, 22.09.2018
The avant-garde varieties of Mauricio Kagel's Chorbuch are brilliantly expressed by Florian Helgath and ChorWerk Ruhr, with
their superior expressiveness and powerful presence (...). "Singet dem Herrn " by J.S. Bach presents the choir highly virtuoso and with striking lightness.
Online Musik Magazin, Stefan Schmöe, 22.09.2018
The 33 professional singers of the ChorWerk Ruhr bring a breathtaking experience of the highest choral culture: moving
expression, perfect homogeneity of the voices and articulation, rich dynamics from multiple piano to fortissimo. The virtuoso fugues as in the "Cum Sancto Spiritu" they sing "con spirito",
swinging-fast and yet soulful, never sticky, phenomenal the Durchhörbarkeit (...). Florian Helgath is a master of the art of choral conducting. With relaxed concentration he calls the results of
the rehearsal work, inspires, inspires his fellow musicians, conveys the message to the head and heart of the listener. Applause in earthquake strength.
onetz (online), Peter K. Donhauser, 04.02.2018
Consolidated in all epochs up to the new music ChorWerk Ruhr confirmed under the direction of Florian Helgath also with
Rossini its reputation as top choir nationwide. The 30-member ensemble captivates in all its expressive facets with its absolutely purified sound: the piano floats in the "Christe eleison",
softly lit the "Sanctus", wiry and tightly standing in the room, the "Gloria". It is not just the joyfully prancing Fugato that shows how closed this ensemble is formed of potential soloists and
how it translates every nuance of the conductor. [...]
Westdeutsche Allgemeine Zeitung, Klaus Albrecht, 12.02.2018
This requires such an excellent ensemble as the ChorWerk Ruhr, which has given us, under Florian Helgath's prudent management in this concert as part of the Ruhrtriennale, very unusual, exciting and beguiling listening experiences. This is in the machine hall of the coal mine Zollern in Dortmund, where the sound unfolds freely in the room, always remaining tangible despite the enormous dimensions of the building. (…) A fascinating evening.
Westdeutsche Zeitung, Martin Schrahn, 29.08.2017
In Dortmund, ChorWerk Ruhr - a choir of young professional singers who have achieved the international top level within in the last years also through their productions for the Ruhrtriennale - was phenomenally secure in intonation and rhythm, and also playful up to audacity. The founder and musical director Florian Helgath also had the musical overall direction and also conducted the small ensemble of wind instruments and keyboards on which Philipp Glass has built his monumental work.
Deutschlandfunk Kultur, Ulrike Gondorf, 23.04.2017
With only 36 singers and 46 musicians, Helgath succeeded not only in a romantic, but also a dramatically gripping interpretation of the story of Paulus.(…) ChorWerk Ruhr convinced with a phased staggered sound: soft and homogenously in the choir "Siehe! Wir preisen selig", dancing and swinging and radiant in the fugue "Der Erdkreis ist nun des Herrn".
Ruhr Nachrichten, Klaus Stübler, 06.03.2017
With his excellent ensemble ChorWerk Ruhr and eight singers of each section, Florian Helgath has realised Mozart’s Requiem & Georg Friedrich Haas‘ Sieben Klangräume exquisitely. J.S. Bach’s motet Komm, Jesu, komm with an almost weightless choral sound has been interpreted extremely precise (…) Also Ligeti‘s Lux aeterna with its floating, complex areas of sound has been sung admirably clear. Helgath and ChorWerk Ruhr have captivated once again with its supernatural, beautiful pianissimo in Mozart’s Ave verum corpus and the strings of the Bochum Symphony accompanied delicately: Great highlight of an extraordinarily gripping concert.
Online Musik Magazin, Stefan Schmöe, 05.09.2015
The top ensemble combines a special ardency with its already highly acclaimed artistic director Florian Helgath, who developed the voices to a maximum in Mendelssohn’s Psalms scorings. (…) Literally surrounded by four choral groups, the audience could dive into tone spheres with Hans Schanderl’s Gitanjali no. 100 which seemed to have fallen out of the world (...). After 90 minutes of high intensity this concert has truly deserved the title of “finest hour of choral singing”.
Rhein-Zeitung, Julia Hilgeroth-Buchner, 09.02.2015
Florian Helgath, the young chief conductor of ChorWerk Ruhr holds the strings of energy to conduct this special, impressive concert [...] Rarely one has seen such a clearly articulated, so musically phrased polyphony, rarely one witnessed singers that listen to each other that well [...] The incredibly serious nature Helgath is working with, reveals parts of the piece which are usually reserved to musicologists.
Rheinische Post, Armin Kaumanns, 05.11.2013
Florian Helgath's plan to prepare de Victoria's vocal polyphony for the search for the sound of New York's school is astounding.(…) Helgath works in the "Offertorium" at the polyphony of Tomas Luis de Victoria and lets the choir of six voices sound wonderfully changeable. In "Hosianna", quite audible and clear, the moving chant of ChorWerk Ruhr in the motet resumed with the moment of personal grief. In the venue of a factory a reverberation is felt, and in "Absolutio", the choir has a multi-voice ending, which allows the spectrum of the fading sound to swell to a volume which is unimagined. (...)
John Cage has named different tones for soprano, alto, tenor and bass without determining the duration in Four 2 (1990). In certain periods of time the singers have to sing as well as to end their sound chord differently. Helgath has placed couples of singers among the audience. Their entries trains the feeling for the spatial feeling of the illusion of the origin of the sound. (…)
In Morton Feldman's "Rothko Chapel" (1971), one experiences moments as if the sound is released into the world for the first time. (...) The choir holds a tone which is becoming more and more comprehensive, indeed appears absolute. There is a fine concentration, an expectation.
Westfälischer Anzeiger, Achim Lettmann, 27.08.2017
The 36 choristers left nothing to be desired with its powerful and crystalline sound: neither in the clear lines, nor in the differentiated choral expression or the dramatic emphasis “Steinigt ihn!”. Huge accolades in the Philharmonie.
All motets of this CD sound true to the original style and well-balanced. You can almost hear how the tone interplays in every moment with the individual voices. The biggest of our radio choir
(with 73 chorists) is surprisingly srteamlined. Just as the tone is one of the strengh of the choir: clear, easy, overtone-rich. [...]
There is no need to mention that everything is just right here: the intonation, the phrasing, the breath, the diction, the homogeneity ... It is a very successful CD, a recommendation for all friends of choir music!
Kulturradio, Astrid Belschner, 27.09.2016
ChorWerk Ruhr sang under the direction of Florian Helgath very well and delicately, and disarmingly clear – while walking around in the hall.
Westfalenpost online, 22.09.2016
An excellent vocal ensemble and a world class recorder player of world class were part of the musical part of the event series "Wege durch das Land". […] How professional and flexible the big choir acted under the direction of Florian Helgath became already obvious in the five romantic songs by Mendelssohn.
Neue Westfälische, 08.07.2014