“An absolute sensation was the opening (of the Festival FORUM MUSICUM) through the participation of Ensemble VOX NOSTRA from Berlin, under the direction of Burkard Wehner, with the program Assumpta est Maria. ... It was a tantalizingly lyrical and mystical concert. One could guess that the group was inspired by the aesthetic of Marcel Pérès, and the achievements of Anonymous 4, but beyond this lay extraordinary artistic qualities. The deep mystical experience and the approach to ornamentation connect Pérès and VOX NOSTRA. The Berliners however, are from another musical planet– not so objective, and therefore more lyrical and intimate. They sang with great expression, richly ornamenting the song with micro-intervals, and maintaining a uniform vocal color, despite the individuality of the different voices... The artistic potential of the group is immense, only five singers conjured an entire panorama of the spiritual epoch of the cathedrals“.
Artur Bielecki: Music Magazine Ruch Muzyczny Nr. 10 / 2009, Wroclaw, Poland

The specialist ensemble studied the art of improvised polyphonic accompaniment in old treatises, presenting calmly breathing antiphons, recitative lessons, as well as conductus motets, as they were preserved at the once worthiest cult cities of Christianity a la Notre Dame de Paris. Here is much more to hear than merely the purist appearance of the music on the page, dominating with fifths and octaves. Cutting suspensions, sensual thirds, the spreading out of the sound space in high and low, and even delicate vibrato effects allow the austerely joined music to shimmer, shine, and take off in a kaleidoscopic manner. Soaring with them, are the souls of some.
Carsten Niemann: Tagespiegel, Berlin 12.04.2004

...The most exciting of this year’s Lenten concerts was heard in the Sophien Church in Berlin-Mitte. The vocal ensemble Vox Nostra is one of the few formations who sing the hymns, lauds, sequences and motets of medieval Holy Thursday and Good Friday liturgies direct from photocopies of the original manuscripts. These sources contain the most information about the performance style of the time. Singing securely, and clearly against the well-tempered sound ideal which distorts the music, well thought-out, sensually well formed, at times even cutting and sharp, the ensemble brought to light stunning discoveries most of all with two motets of Ludwig Senfl.
Peter Sühring: "Konkrete Utopien - Der Alte-Musik-Frühling in Berlin" Concerto Music Magazine 2002