“Equilbey’s approach makes this colorful, atmospheric music come alive.”

“Kleiber, Kubelík and Harnoncourt might well find themselves displaced, so firm of conviction is Equilbey’s vision, and so exquisitely realised…”

“Conductor Laurence Equilbey, with flowing elegance, gives a very spiritual and solemn interpretation of the work [Brahms German Requiem], with no hint of pomposity.”

“Equilbey likes brisk tempi, but always with room for nuances, atmosphere, variation and warmth. In addition, she structured this one-and-a-half-hour performance as a rounded narrative, with nothing lacking and nothing overpowered. Above all, she kept both instruments and voices in total balance.”

“The acoustics of the Seine Musicale are simply excellent […] Insula orchestra played with great vitality throughout. Rarely has Mozart been performed more accurately than by Laurence Equilbey and her splendid musicians.”

“Equilbey is tough and has vision. One can tell by listening to her recordings of the Brahms Requiem or the “Seven Last Words” by Haydn. With accentus, she favours a flexible and dark sound for the choir and holds all the voices perfectly in balance. The upper voices do not dominate and one can hear very clearly the middle voices and other details; this was also the case in Vienna. Equilbey’s trademark is a wonderful amalgam of French and German aesthetics, combining unsentimental clarity and profound feeling.”

“[About Gluck’s Orfeo Ed Euridice CD] Equilbey and the Insula orchestra are painstaking in their re-creation of Gluck’s original sound world: period strings and brass underscore the harshness of Orfeo’s isolation where the warmer sound of conventional instruments tends to console. Speeds are brisk, but in veering away from Muti-like solemnity.”

“Laurence Equilbey…has at her disposal a very high level ensemble, which shows in Der Freischütz powerful and theatrical sound effects.”

“Laurence Equilbey’s ensemble, hailing from Paris, showcases the best in period-instrument performance: lithe playing that forces us to sit up and pay attention to long-neglected……works.”

“The sound is full-bodied and warm in the new hall. The equilibrium between accentus chorus, founded by Laurence Equilbey, the three soloists and the orchestra is well-balanced. Instrumental and vocal sounds are well blended. Also the sharpness drawn by the conductor is well carried by the acoustics; nothing is forced.”

“Equilbey maintained light but effective control over all three pieces, encouraging her orchestra to display its range of colour with skill and confidence.”

“Insula Orchestra and Laurence Equilbey gave a very fine concert of music by Schubert, featuring a version of the Unfinished Symphony of a quality that one would like to hear more often.(…) Insula Orchestra, with its transparent timbres, the outstanding quality of its individual musicians, and myriad dynamic variations at its fingertips, literally enchanted the audience at the Metz Arsenal, accustomed to more heavyweight symphony orchestra formats. The size of the main auditorium at the Arsenal in no way impaired the legibility of the immensely subtle interpretation led by Laurence Equilbey, absolutely on top of her game. The quality of the treatment, creating the impression that one was hearing the premiere of a piece that one yet felt one knew by heart, seems to definitively inter the controversy about the need, or otherwise, to play the nineteenth century repertory on period instruments.”