Search for original pleasure

In the past ten years, HRBA (the favourite abbreviation for Croatian Baroque Ensemble) developed into a modern vocal-instrumental orchestra capable of performing the most demanding sheet music of Baroque and similar periods in a sovereign, authentic way. This was honed over time despite difficulties, in cooperation with the most eminent world artists, experts in the field of authentic Baroque interpretation. Exploring the right sound, ornamental work, agogics and articulation, gradually starting to use adequate old instruments or their replicas and bows and catguts was done for the purpose of “searching for original pleasure“.

Višnja Mažuran, Kulisa, 2010

Performance so great that it made strings break

During the excellent performance of the unreservedly engaged ensemble even strings were broken but this did not in any way obstruct the gallant musical ceremony when listeners were able to fantasize or perhaps feel as courtiers.

Maja Stanetti, Večernji list

One of the best Zagreb ensembles

Musical Baroque in Zagreb is definitely not an academic, museum viewing of fossils of musical history any more, but a real lavish party with very vivid, witty and surprising musical forms as presented to us last night by maestro Niquet and Croatian Baroque Ensemble, which, after such season opening, we can safely claim is one of the best Zagreb ensembles.

Branimir Pofuk, Jutarnji list

Excellent performance on authentic instruments

Croatian Baroque Ensemble presented itself again to Osijek audience with a demanding programme, excellent performance and authentic instruments in the Capuchins Church. The audience was delighted by the works of G. B. Fontana and G. F. Händel performed by Laura Vadjon (Baroque violin), Ana Benić (traverso flute), Berislav Puškarić (bass) and Krešimir Has (harpsichord).

Lj. Bobalić, Glas Slavonije, 2010

Enviable technical skill, stylistic precision and distinct musicality

Throughout the concert excellent musicians of the Croatian Baroque Ensemble directed by the sure hand of Saša Britvić showed enviable skill, stylistic precision, distinct musicality and attention to detail. This was especially visible in the performance of symphonies but also in the cooperation with one of the best Croatian sopranos Ivana Lazar, whose performances of concerto arias left the audience breathless. And these were really demanding arias, which Mozart wrote in his day for Aloysia Weber, the sister of his wife Constanza, wanting to show off the agility of her high-pitched coloratura soprano.

Danijela Pintarić, Sound Report, 21 January 2015