Rameau, a star of the Austrian stage

To mark the 30th anniversary of L’Orfeo Barockorchester, founders Michi Gaigg and Carin van Heerden look back on three decades of intense, joyful work centered on sound and interpretation. As dynamic as ever, the ensemble will be at Greinburg Castle (Austria) from August 1 to 9 for Sophia, an imaginary opera by Bach in which cantatas and choruses engage in a dialogue with artificial intelligence, freedom, and our concept of humanity.

“Musically, it was our work on Rameau that taught us the most.” © wali.pix

Thirty years ago, Michi Gaigg and Carin van Heerden, both teachers at the Anton Bruckner Private University in Linz, founded L’Orfeo Barockorchester. Since then, Michi Gaigg has primarily directed the ensemble, having long led it from the first violin desk. Their shared passion for Bach, Rameau, and French music gave rise to one of Austria’s most remarkable period-instrument ensembles. In this interview, the two founders reflect on their artistic discoveries, from the Baroque era to early Romanticism, their search for an immediately recognizable sound, the challenges of maintaining an independent orchestra on the international stage—especially one led by two women—and the experiences that have shaped L’Orfeo over three full and eventful decades.

L’Orfeo Barockorchester is celebrating its 30th anniversary this year. When you founded the orchestra, did you ever imagine you would one day celebrate such a milestone?

C. v. H.: Yes, founding this orchestra was a decision that would shape the rest of our lives. We probably weren’t thinking specifically about thirty years at the time, but the idea of a commitment that would last almost a lifetime was already there.

What was the catalyst for the orchestra’s creation at that time?

M. G.: Well, we met at Bruckner University, and that is where we founded the orchestra. Both of us loved Rameau and French music. At the time, that was rather unusual, and it created a wonderful affinity between us, because most of our colleagues were more inclined toward Italian music. Carin was then in charge of the wind classes—recorder and oboe—while I taught violin and viola, and by around 1996, we both had excellent classes. On my side, the L’Arpa Festante project had just come to an end, and I knew that life with an orchestra was exhausting, but life without an orchestra would be sad. As an only child, I had always wanted to belong to a group (laughs), and Carin, especially as an oboist, very much wanted an orchestra.

C. v. H.: We had also both come from elsewhere to settle in Linz, and we realized that there simply was not much happening there—and that in this very Catholic country, there was no real Bach tradition.