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PRESS PHOTOS – Otis Klöber

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PRESS PHOTOS – The Orchestra

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Reprint permitted free of charge for promotional purposes with the name mentioned. Not for commercial use.


„How you can lift off and take an audience along with you on a far flight, the Philharmonic Orchestra of Europe showed in the Symphony. Breaks off and upwards to a purifying, airy, but nevertheless powerful Brahms!”

Nordwest Zeitung

“Thunderous and Rapturous Applause”

Münsterland Zeitung (Mozart „Haffner-Symphony“)

“With articulate conducting [Otis Klöber] disentangles the tight network of thematic references, developments and relationships. Thanks to the artistry of Klöber’s flowing transitions this powerful but intimate work maintains its balance – and the young orchestra is obliged to satisfy the rapturous applause with two encores.”

NWZ Online, (Brahms 2)

“[The Orchestra] under Otis Klöber accompanied with the engaged and diaphanous quality of chamber music, whereby delicate individual textures, particularly in the woodwind, were superbly audible.“

Münsterland Zeitung, (Mozart’s Piano Concerto in A major KV 488).

“When the programme is not simply scrubbed through, but enlivened as here was the case – then music becomes a real happening. The Philharmonic Orchestra of Europe developed an unbelievable maelstrom in the depths of this Symphony, enticed the listener into an ecstatic final vortex.“

Westdeutsche Allgemeine Zeitung, (Brahms)

“In Mozart’s last Symphony (the ‘Jupiter’ Symphony) the orchestra shone again. The three tutti strikes contrasted greatly with the melodic line of the principal theme, which followed, also the theme of the trio was given a new impetus with a slight acceleration at each repetition.”

Neue Osnabrücker Zeitung („Jupiter-Sinfonie“)

“You were left breathless and the pent-up energy erupted in a frenetic applause lasting several minutes, which was rewarded with two no less inspiring encores.”

Westdeutsche Allgemeine Zeitung (Bizet, Mascagni)

“This arrangement for string orchestra with its light and brilliance as well as heavy shadows and fate was not left wanting, as the performance was stirring and impressive. […] It was rewarded with thunderous applause and bravos.”

Ostfriesische Nachrichten (Schostakowitsch, Chamber Symphony op. 110a)

“A remarkable orchestra! Energetic, transparent and precise […].“

Neue Osnabrücker Zeitung (Mozart)

“In Leer a group of highly qualified musicians played seldom heard treasures at a remarkably high niveau under the baton of Otis Klöber, before they travelled on to the Schleswig-Holstein Music Festival. […]“

Ostfriesische Nachrichten (van Bree: Music for 16 Strings / Tschaikowsky, „Souvenir de Florence“)

“The second movement offered stunning fireworks of new tonality, dazzlingly proving the high competency of this ensemble of leaders and principals from famous orchestras.”

Westdeutsche Allgemeine Zeitung (Schostakowitsch-Oktett)

“The orchestra exchanged the velvety tenderness sound of Beethoven (Violin Concerto in D major op. 61) in the first half with the 2nd Symphony in D major op. 73 by Johannes Brahms. It was a pleasure listening to both soloists and the individual orchestral departments. In the formation of Beethoven’s mighty pianissimos the Orchestra had readily proved their qualities, but now they positively flourished, unfolding a never jarring volume even in explosive moments, which didn’t pound the surrounding space, but continued building in sound and arches.”

Westdeutsche Allgemeine Zeitung

“As in the Mendelssohn one stream yields naturally to another, one instrumental group carries forth another, led by conductor Otis Klöber in an elegant, flexible and always cultivated flow from his very fingertips.”

Westdeutsche Allgemeine Zeitung

“Sweeping along from the outset, as if in the crossing to Staffa from the Scottish Symphony. The indication of the opening bars of “ma con fuoco” was followed by the double quartet with abandonment. With an intoxicating power the ensemble tone engendered in the hall of Raesfeld Castle the mighty volume of an orchestra. Bravos and a standing ovation greeted this aural delight.”

Westdeutsche Allgemeine Zeitung (Mendelssohn / POE String Soloists)

“Otis Klöber inspired his orchestra to some splendid music-making, achieving an unpretentious beauty in the second movement “Andante” and the nuance rich third “Menuetto”. Their thanks was a tumultuous and rapturous applause from the fully packed house. Recommendation: keep an eye on this orchestra at their next concerts!”

Münsterland Zeitung (Mozart, Haffner Symphony)

“Lift-off with Beethoven and Brahms”

Nordwest Zeitung

“Conductor Otis Klöber allows the D major work every gravitas, which each time evolves into a breath-fine minor atmosphere…”

NWZ Online (Brahms)

“In one of the most highly characteristic concerts of the past years, the ensemble held their audience’s breathless attention right from the first to the last minute. […] The four young musicians, who all have extensive orchestral experience next to their chamber music activities, were on world-class form: an extraordingary technical command, together with subtile musicality and striking ensemble precision, was reminiscent of such renowned ensembles as the Alban Berg Quartet and the La Salle Quartet.”

Süddeutsche Zeitung (about the Quartet from the principles string-players)

“The “Gran Partita” flowed so warmly and full of colour in the hands of this fantastic dozen wind players! Not only that Adagio lost in dreams, which even the jealous Mozart antagonist [Salieri]  later had to admit, that he believed he had heard the “voice of God”. And these wind players celebrate this “divine music” with a transcendency, which is almost unsurpassable.”

Münsterland Zeitung (Wind Soloists)

The tempo of the slow movement was perfect here, its melancholic minor-sentiment achieving deep meaning. Nevertheless the high point of the concert came in the Symphony’s Finale, in which the Philharmonic Orchestra of Europe maintained a breathtaking passion and rare fire. The enormous tension was effortlessly maintained through the unnoticeable repeats of the second and third sections right up to the last bar.

Neue Osnabrücker Zeitung (at the gala concert “50 Years Europe”)

The strings played articulately with a coherent clarity, exercising a modern sound palette, slender and light. To experience all the woodwind with such a presence as here, then you’re talking about that rare occurrence of true orchestral balance! […]

Neue Osnabrücker Zeitung

“Whoever sets about a new recording of Mozart’s last Symphony (No. 41 in C major KV 551 “Jupiter”) and his last Piano Concerto (No. 27 B minor KV 595) must have something extra on offer to really add anything substantial to the numerous recordings of these masterpieces. But sure enough [they] really do succeed in giving this music a new reading, on the one hand taking everything fastidiously as writ and playing with a clear and incisive tone, whilst also relating to their continuous internal tension and their rhythmic strands. […]
The result is a very lively and at the same time naïvely unostentatious performance of these late works in which Mozart has freed himself from mundane excesses and […] aspires to a higher spirituality, which normal mortals can hardly attain any longer. […] This is a recording of the highest standard as reflected in the playing of the orchestra which constantly strive for a slender and stylistically clean sound under the baton of Otis Klöber. The exemplary recording of this new CD thoroughly deserves to be listened to.”

Köln-Bonner Musikkalender (neue CD`s)