“The ensemble’s lively phrasing, airy lightness and nuanced  interpretation of text combined to produce a hymn of praise of the highest vocal calibre.  The vocal fireworks of the eight-part Bach Motet, sung with brilliance and virtuosity, proved the crowning glory.”
(Thüringische Landeszeitung)

“With what incomparable brilliance, what transparency in the Fugues, and with what effortlessness and dignity the Rheinische Kantorei performed.” (Freies Wort)

“The Rheinische Kantorei demonstrates - with careful diction throughout - an unfailingly homogeneous, sparkling and lively sound, with each of the trained singers providing a skillfully nuanced dynamic performance.”

“The superbly capable choristers of the Rheinischen Kantorei, with their well-balanced sound,  have found in the musicians of Das Kleine Konzert under the direction of Max a worthy, flexible and steady partner.”
(Wiesbadener Tagblatt)

“Accuracy of intonation, intelligible articulation, clear phrasing, good dynamic variation and generally transparent harmony.”

“A crystal clear, well-balanced choral sound without massive ballust, but instead with declamatory precision, luminous sonority and transparently constructed polyphonic diversification.”

“With this work [Carl Heinrich Graun: Große Passion], Hermann Max has unearthed a masterpiece representing a very important addition to existing Passion repertoire.”

“The Rheinische Kantorei sings with precise diction, varied expression, and dynamic flexibility while producing a full overall sound.”
(Rheinische Post)

“Hermann Max brought the music to life not only through his use of colour but also through his choice of dynamics and tempi.  Also outstanding was the Rheinische Kantorei, a small choir with a wonderfully homogeneous sound and a great sensitivity for all dynamic and epressive nuances.” (Volksstimme Magdeburg, 15.03.2010)
“The singers are especially praiseworthy for the expressive immediacy and warmth of their singing.  Hermann Max and his forces execute this music beautifully and with conviction.”
(Early Music America)

“The sixteen-voice Rheinische Kantorei and Das Kleine Konzert acquitted themselves as masterfully as usual, with consistently excellent instrumental soloists and a powerful continuo group.”

“Well-trained, judiciously employed voices, that demonstrate both the agility required for Bach’s coloraturas as well as a full sound for the big climaxes and for the Chorals.  The effortlessness and the airiness is convincing.” (Schwäbische Zeitung)

“Exhilarating, yet with an inner calm; subtle music-making and fascinating interpretation of text.”

“A lively, typically chamber music style, dancing rather than statesmanlike, a technically near-perfect interpretation (....)  The easy virtuosity and effortlessness that accompanies the opening chorus of the fifth Cantata [of the Christmas Oratorio] and its swinging Fugue - it would be hard for anyone to top this.”
(Kölner Stadtanzeiger)