“The voices dwell and are passed down with Stahlhammer's sublime notes that
are tinted against Oldenburg's rich accordion and Blommé's deep, bold cello./.../
Nothing surpasses Stahlhammer's tone that belongs to eternety and future. Because
despite the sorrow and suffering, the trio leaves us with power and hope. This is grand.”

“The trio plays with technical drive. This is chamber klezmer
in evening gown and suit, dignified and elegant.”

“Delicate chamber klezmer that strives ahead over a coars wooden floor.
In the midst of the warp is Stahlhammer's violin like a lifeline throughout time.
Klezmer for gourmets where nothing lacks of joy, sorrow, melancholy and yearning.”

“Anne Kalmering sings /.../ with strenght and power to fill the songs with most,
if not all, that the songs contain. The three musicians are just as skilled separately
as together. The violin is heard in close, delicate interplay with the cello as well as
the accordion. Klezmer music can sound so differently but Stahlhammer Klezmer Classic
are balancing from folk- to art music. Not as sprightly fast and feigned happy as klezmer
sometimes is played to hide and forget, but the sorrow is the buoyant key and mood.”

“Kalmering characterizes the songs with her warm, smokey voice. Sad, playful,
strong. /.../ The music by the Stahlhammer orchestra has winded through
the holes in history and landed in present time.”

“Interesting music history with klezmer music of the century”
“A piece of interesting music history of strong graphic and moving quality. /.../
the result has become something beyond the regular /.../ unusually rich and
well varied song and music material with interesting and clear both historically
and contemporary anchoring.”

“ In Scandinavia, Bente Kahan and Basia Frydman has done much for Yiddish
song, and to their names we can now add Kalmering's. Her voice is rougher,
hoarser and coarser /.../ Shortly, she has her own personality. /.../
Stahlhammer's violin can be caressing and loveable and urgent and robust;
it can chirp like a bird and it can speak serious words. It has something
it wants to tell us and sing about - a wish that imprints the whole album.”

“Beauty in chamber musically meeting”
“A heavy melancholy and blackness runs along light and playfulness. It is highly
personal versions, with soul and heart, everything dressed in a costume with
intensity and poetry. Anne Kalmerling is a singer /.../ with great width,
but above all with a sensual touch, fragile intimacy, great presence,
openness - now quiet, now intense. /.../ in this chamber musically meeting
emerge both beauty and music with soul and emotions. /.../ The musicians
are perceptively flexible, musically skillful and together with Anne Kalmering
they contribute to a consummate musical contribution.”

“The stories in the center of viable klezmer”
“Empathy and sublime playing /.../ Strong stories that marinate in a music
that lifts and transformes the horrific and in some remarkably way induces
to carry vitality even in the severe. /.../Semmy Stahlhammer /.../ many delicate
voices to the songs and deepens with his playing the experience of each song.
In the instrumental pieces he shows his skillfulness and creates different
sounds that reinforce the emotions. /.../ Miriam Oldenburg /.../ playing is
rythmically exciting and caleidoscopic. It happens a lot in the meantime,
a rich playing. The cellist Isabel Blommé /.../ expressive solo parts that
many times deepens the grief in the songs with her singing tone.

Singer Anne Kalmering /.../ sings with natural authority and elicits both
the melancholy but also a great deal of humour. /.../ charm and twinkle.
The cooperation between the singer and the musicians brings out the
music and the stories in a sovereign way. One leaves the venue with
an extreme enriched experience.”

“Topnotch musicians entertained with klezmer and Bach”
“With a mixture of joy and melancholia, with fast fluctuations in both melodies and
harmonies, the music was carried forward in abrupt changes but with steady rhythm,
where accelerating passages pulled down cheers ”

“With elegance in sadness”
“Directly I was striked by the chamber-music mutual sensitivity among the three musicians.
/.../ festivity and happiness so you wanted to stomp to the beat
and the most venturous fireworks of music from the violin.
/.../ at circus level it is of course to play so in tune and apparently so effortlessly. ”

“Klezmer music with soul and feeling”
“musicians on the highest level. But it is coupled with soulfulness and a feeling for the source that brings the concept klezmer to a deeper and almost spiritual dimension /.../ Musically more dynamic and dramatic is the chamber-music-like meeting between the violin, cello and accordion.
Very sensitive ensemble playing is in the making.”

“Whirling and expressive klezmer”
“captivating, well played music /.../ the three musicians are also skillful
/.../ Semmy Stahlhammer /.../ is swift fingered and full of expression /.../
Miriam Oldenburg's steady accordion is the base and motor /.../ Nina Åkerblom Nielsen's
clear, warm soprano brightened not least the slow and thoughtful songs.
Rarely one went home so merry after an all night event in minor.”

“Jewish folksongs in the Sephardic and Ashkenaz tradition, colorful
and personally interpreted by Anne Kalmering & Stahlhammer.”