„Neues Bülacher Tagblatt“
“Paolo Oreni is a right Sensation in the Organ’s World…. fascination, virtuosity…”
„Schwäbische Zeitung“

“AN ORGAN VIRTUOSE AT QUENN MARY CHURCH”
“We never experimented a so extraordinary Organ Concert. …His fingers go as a Tempest and his feets are flight fingers. …All was in new way played and convincent. …Enormous phrase’s precision. The high speedness did never damage the music, but gave it a perfect clearness. …Beautiful colours. …The Soul flied in the highest sky.”
„WAZ Oberhausen“

“VIBRATION IN THE CHURCH”
“Expressive and impressive play. …In the Mozart’s Adagio & Fuge KV 546 Oreni put the differents voices in a so good way, that the more Strings Instruments for which the work was originally composed, were sightbar under our imagination’s eyes. …It seems fast that an angry Zeus apparead in the church.”
„Memminger Zeitung“

“PAOLO ORENI IS A POWERFULL KING AT THE ORGAN”
“high-sense Organ Concert. …imagination full Improvisator… The sixty minuts get so as in plane. …His technic, his fingers’ velocity, his precision and his artistic dimension… Oreni is a 1. Class Concert Organist.”
“Hohenzollerische Zeitung”

“ORENI ENTHRALLED WITH MASTERFUL PLAYING”
“An exceptional talent… He controls the organ so explicitly and matter-of-factly that one was simply astonished. Paolo Oreni played with the acoustics as if he had grown up in the church, experimented with dynamics, tempo and colours as if he had set out to try out every possible combination… so much capability and maturity… There probably hasn’t been anything like this in Hechingen before.”
“Schwarzälder Bote”

“World-class organist… A top-drawer concert… stupefying technique … spectacular…” About the improvisation: “He produced a broad and multifaceted work for the organ. That was the Art of the Organ at its finest.”
“Schwäbische Zeitung”

“AN ORGAN VIRTUOSO IN ST.MARY’S”
“We have never experienced such an exciting organ concert. His fingers move like the wind and his feet like fleeting fingers. Everything was completely different and yet convincing. …very precise phrasing.
In spite of high speeds the music never seemed hasty or hounded, but rather natural.
Moody paintings… The soul wafted in the highest heights…”
“Neues Bülacher Tagblatt”

“Without exaggerating Paolo Oreni can be called a true sensation on the organ. His virtuosity is fascinating.”
“WAZ Oberhausen”

“THE CHURCH VIBRATED”
“Emotional playing… Oreni worked out the various voices in Mozart´s Adagio and Fugue KV 546 so well that the different string instruments for which the work was originally composed became visible in the mind´s eye… It appeared almost that the enraged Zeus himself was present in the church.”
“Memminger Zeitung”

“ORENI PROVES HIMSELF SOVEREIGN OVER THE ORGAN”
“Gripping organ concert… capable improvisor… the 60 minutes veritably flew by… His technique, his virtuosity, his precision and his artistic dimension… Paolo Oreni proved himself a concert organist of the highest caliber.”
„Süddeutsche Zeitung”

“Paolo Oreni unfolded this Instrument’s possibilities in a until now never tested way – be thanked his Technic, which allows him to exceed the usual limits – but over all the rganist’s genial play is to owe.”
„Süddeutsche Zeitung” Internationale Orgelwoche Erding

“ART OF THE IMPROVISATION’S MASTER”
“Paolo Oreni astonished with a carefree facility and virtuosity.” …About “Prometheus“ by
Liszt/Guillou: “So furios and virtuos fight could be set in scene by Paolo Oreni, suffering or
boldness, however with a never seen dramaturgic bass drum impact.”
„Online Music Magazine” Dortmund Concert Hall

“THIS MAN IS SENSATIONAL”
“Paolo Oreni proved as a true magician. His improvisation was not the only impressive one, but also the Mozart’s, Listz’s and Prokofiew’s Transcriptions – by him all by heart played – were extraordinaries and didn’t miss at brilliance, precision and musical expression strength. This man is a Sensation.”
„Schwäbische Zeitung” Wangen

“ORENI BEWITCHED WITH HIS ORGAN PLAYING”
“Never dreamed Sound dimensions opened themselves in the St. Martinskirche and carried a fascinated audience. …shining Virtuosity … pure energy and palpable play joy…”
“The sound variations [through combinations], the musical intensity, Oreni’s play’s technic and virtuosity, blow up the usual Organ’s framework … How this musical force and these refined sound mixtures can be instantaneously recreated, at this level of absolute perfection, is with difficulty conceivable. An Extra-Class Musician worked here, making forget all the passed and usual organistic Representations.” Johannes Rahn
„Das Handelsblatt” Düsseldorf

“Oreni build a musical structure, and he surveyd the manuals as speed as a flash… At the end, the entire public realized to have heard a Big of the organistic art.”
„Corriere delle Alpi” Trento’s Philharmonie

“SUPERSONIC AS A PIANIST – PAOLO ORENI’S TALENT TRANSFORMS THE ORGAN IN A TURBO”
“…A virtuosous organist, who plays by memory and overclasses the pianists because, not only his hands but also his foots go in a supersonic speedness, and he isn’t limited to the “only” repertory but improvises, creates, builds instantanely sounds’ and colours’ phantasmagorias. Spectacular, really, his performance decidely oriented on the wildness. …The Liszt’s Orchestra, in the Prometheus Symphonic Poem, the Prokofiev’s Piano, in the redoutable Toccata op.11, are transfered on the organ and executed without the smallest tireness, indeed giving the taste of an inconceivable spontaneousness. But Oreni’s virtues do not limit themselves to the virtuosity: his Mozart’s, Liszt’s or Prokofiev’s readings let clearly appear an intensive reflexion on the transcription’s sense as a work for the re-creation and re-contextualisaption of the original. …He improvised in a rhapsodic fire, an effervescence of timbrics and expressives effects.” Annely Zeni

“PAOLO ORENI, THE RISING STAR IN THE ORGANISTS’ SKY”
“… Paolo Oreni carried the Trio-Sonata of Bach on its highest level, by memory – as the integral concert (!). In this dryness church’s acoustic, the transparency of this Sonata would not have let pass the least distorts note, and it’s a perfect version which Oreni gave us, in a sovereign clearness.” …In the Schumann’s Fugue on BACH’s Name, Oreni varied registration very quickly, underlining each Theme with its own colour, revealing each note of this Masterwork. …Oreni improvised in a very personal language, a great outline of composition, sublimating the given Themes, and always avoiding to fall into a sterile style’s exercise. …A long ovation greeted this concert performer at his career’s dawm, and about which one will intend still much to speak.” Edgar Walhorn

„Il Popolo Cattolico”
“A real “must”, Bach’s 6th Triosonata, where the organist conduced with a superb technic the slipping musical lines, but never reduced the all in a dish accademism. [He played with] a royal ease. …Then an improvisation as a travel, a lot of rythmics and harmonics luckies finds. …The enthousiastic applause were thanked by any Encores, carried with the sparkling liveliness together with the rigour we know yet in him; a honourable evening-final for a high-style Concert, offered by a Musician as Paolo Oreni, whose we invite you to follow with the maximal acuity, because he willn’t disappoint you.”

„Heilbronner Zeitung”
“During the Dupré’s virtuose interpretation and the Prokofieff Toccata’s powerfull mechanics, he worked with an unstoppable force. …Improvising, he obtained differents sounds and colours, characterfull variations, with a great flowing musical fantasy, and all of this directed by a great force of creative Will.” Lothar Heinle

„Luxemburger Wort”
“Paolo Oreni, highly-gifted improvisor and one of the most exceptional technicians, is one of the most interesting young organists of his generation. …Since his appearance on the scene all international critics agree that they are dealing with a brilliant interpreter, whose musical sensibility and highly virtuosic playing have already brought him several prizes”