Süddeutsche Zeitung, Munich, Germany
11.12.1997
Queen Mary Choir fascinates with Bach´s Christmas Oratory
...For the performance of Bach´s Christmas Oratorio in Grünwald there was only a multi-purpose hall available, yet, the work and it´s presentation kept the audience in awe. While this is primarily due to Bach´s music, of course, the specific interpretation provided a share not to be underestimated....
...Cornelia von Kerssenbrock directed all with contagious vitality. The Choruses even brought a festive spirit to the multi-purpose hall, and there was depth and intimacy in the chorals...
 

Badener Tagblatt, Baden-Baden, Germany
12.01.1998
Students from the Baden Würtemberg music "Hochschulen" conduct the Baden-Baden Philharmonic Orchestra
....There was a surprise by the conductor Cornelia von Kerssenbrock from Freiburg, who interpreted the two movements of the well-known piano concert (Chopin, Nr.2, opus 21) with enthusiasm and great musical expression, in good rapport with soloist and orchestra...
 

Münchner Merkur, Munich, Germany
03.02.1999
Queen Mary Chor Grünwald performs the oratorio "Paulus" with musicians from Freiburg
...With this performance of F. Mendelssohn-Bartholdy´s "Paulus" Oratorio conductor Cornelia von Kerssenbrock delivered quite a coup. Acclamations were shouted in the hall....
 

Mitteldeutsche Zeitung, Halle/Saale, Germany
14.06.1999
Three winners from Paul Goodwin´s conducting course interpret "Alexander´s Feast"
...Cornelia von Kerssenbrock .... during the course had made her mark through the richness of her interpretational ideas and her conducting showed the effect of the course most clearly. The visible gain in technical assurance and her understanding of the work made the part of the concert under her direction the most impressive.
If one had to make a prediction in accordance with Goodwin´s wish that the course should produce Handel specialists, Kerssenbrock must come closest to the mark...
 

Badische Zeitung, Freiburg i.Br., Germany
18.06.1999
Freiburg conductor wins the Handel prize in Halle
.....From the work in the course Cornelia von Kerssenbrock profited most surprisingly. Her conducting had become visibly more intensive during the time of the course. From her excitinly unconventional and dramatical understanding of the work she developed an almost theatrical interpretation. Distant battles grumbled and terrible storms brewed.
After the final concert Goodwin (the teacher of the course) expressed the hope, that Handel specialists would emerge amongst the winners of the prize. It is to be expected that three of them will become good conductors - but Cornelia von Kerssenbrock could fulfill Goodwin´s hope.
 

Badische Neuste Nachrichten Karlsruhe, Karlsruhe, Germany
23.06.1999
Looking back at the Handel Festival in Halle
...The new star in the baroque conductor´s sky is Cornelia von Kerssenbrock. She comes from Freiburg, where she has conducted the Madrigalchor since 1998. She received the prize of the Handel Festival, after qualifying with Markus Bosch and Hans Jochen Braunstein from among 17 competitors in the conducting course directed by Paul Goodwin. In Handel´s "Alexander´s Feast or the Power of Music" in the Franckeschen Stiftung she led the Choir of the University of Halle and the Academic Orchestra speedily to the musical climax. You don´t have to be a prophet to predict a wonderful career for the 28 year old.
 

Badische Zeitung, Freiburg i.Br., Germany
07.07.1999
Three Freiburg Choirs with "The unknown Handel"
... Under Cornelia von Kerssenbrock´s direction an interpretation was achieved that danced lightly in the outer movements and found the soul of the central movement (Bach, concerto for violin in E-major).....
....The conductor Cornelia von Kerssenbrock was recently awarded the Handes prize of the city Halle. Seeing her conduct told you why: both in Bach and Handel Kerssenbrock maintains the balance between love of detail and a view of the whole. She conducts with precision but never pedantically, here and there she accentuates inner parts, underlines details, then lets the reins loose again....
 

Pfaffenhofener Kurier, Pfaffenhofen/Ilm, Germany
04.04.2000
St.John`s Passion - a musical event, enthusiastic audience in the Ilmmünster Basilika
...Cornelia von Kerssenbrock hereby presented herself as an extremely dedicated conductor, directing soloists, choir and orchestra reliably convincingly...
 

Süddeutsche Zeitung, Munich, Germany
04.04.2000
Cornelia von Kerssenbrock conducts the St.John´s Passion
...Choir and orchestra had been extremely well prepared by the conductor Cornelia von Kerssenbrock... Brilliant, rhythmicly precise and dynamic special were the chorals, identifying the conductor as the decicive sound designer...
...Bach with "bravado": Cornelia von Kerssenbrock directed choir and orchestra with decicive temperament.
 

West Bohemian Newspaper, 16 May 2001
(...) Included in the program were... works ... which the KSO (Karsbad Symphonic Orchestra) has already performed many times ... Thus the attention was focused first  and foremost on the interpretative 
understanding of the young conductress. Not
bothering with outward effects, she was able to use her internal experienceand  her strongly disciplined expression, which was incomparably sensitive and intense, to stimulate the members of the symphony orchestra to a concentrated performance.
With her exceptional personal charisma, her feminine feelings, she created an evening full of consistent harmony and suitable styles, in particular with Romeo and Juliet, the Fantasy Overture, by Tchaikovsky  (she conducted from
memory). Remarkable was her clear and sensitive interpretation of Dvorák’s ”From the New World”, which has been heard in Karlsbad under numerous conductors since its first performance on the European continent in the year 1894. Her interpretation was one of the most successful.
 
 

“The Merry Wives of Windsor” from Otto Nicolai
International Music Festival in Chiemgau July/August 2002

echo, 24 July 2002
“..Cornelia von Kerssenbrock sensitively conducted the capable festival orchestra. The audience celebrated a further successful opera premier at the Immling Estate with cheering and enthusiasm.”

Münchner Merkur, 20 July 2002
„... That they all join into a musically alive, funny and also sensitive cooperation, is the doing of  Cornelia von Kerssenbrock. She conducts the Munich Symphony Orchestra with zest and temperament, shows the woodwind players to best advantage and leads the singers with a steady hand. She also displayed masterful control of the ensembles and turbulent choir finale.”

Traunsteiner Tagblatt, 23 July 2002
“Everything that delighted a gigantic audience for three hours long depended on two women from Munich, sisters, on top of it all. Cornelia von Kerssenbrock stood at the conductor’s stand of the excellently modulating, melodically extravagant Munich Symphony Orchestra. She had masterful hold of the musical reins, knew every note, every phase of the Nicolai score precisely and led with admirable self-confidence, brought small stumbles or vocal uncertainties skillfully under control and fed sugar again and again to the indulgences in romantic music. A masterpiece of conducting.“

IBS Magazine from the Interessenvereins des Bayerischen Staatsopernpublikums e. V., October 2002:
„ (...)That the concept of her sister Verena became clear is thanks to the magnificent performance also given by the conductor Cornelia von Kerssenbrock, again with the members of the Munich Symphony Orchestra. She had masterful control of the orchestra, choir, ensembles and soloists. (...)”
 
 

Westböhmische Zeitung, 16 October 2002
Conductor with noblesse
A woman conducts the members of the symphony orchestra
The conductor Cornelia von Kerssenbrock is not unknown in Karlsbad. She already conducted Dvorak’s Symphony No. 9 “From the New World” here in April 2001, was here for a second time in March 2002 when she conducted Smetana’s “Dances from the Bartered Bride” and the Adagietto from Gustav Mahler’s Fifth Symphony at a conducting course concert, and conducted a French repertoire in the Karlsbad Theater at her third appearance on 4 October 2002.
She has shown that this music is her own, that she has the feeling, relationship and appreciation that it requires. The successful performance of the dance-like “Roman Carnival” from Hector Berlioz was followed by Debussy’s “Afternoon of the Faun” overture. With absolute understanding of all details of the score, she presented herself as an impressionistic painter who pulled the refined beauty of the range of tones from the orchestra with feminine delicacy. 
In the second part of the successful evening, the place behind the stand was taken by an energetic woman who was able to “force” the maximum from the members of the orchestra in the performance of the Symphony in D Minor from C. Franck. 
It is otherwise rare for concerts of serious music to end with long, undulating applause.
 
 

“The Bird Seller” Carl Zeller
December 02, Stuttgart, Karlsruhe, Aschaffenburg, Wiesbaden, Rosenheim

Main- Echo, 30 December 2002
“The musical conductor Cornelia von Kerssenbrock is a gifted conductor. She allows the players a great deal of freedom to develop their roles individually, but lightning flashes from her eyes when singers think they can allow the precisely beaten “one” to become a “one and a half”. (...)”

Oberbayrisches Volksblatt, 2 January 2003
„(...) the operetta  (...) was brought to life by the music: because the Romanian orchestra “Filarmonica di Bacau”, under the animating conducting of Cornelia von Kerssenbrock, kindled a melodious and rhythmic firework of good spirits, that fit so well with the New Year’s Eve fireworks that followed: strikingly rousing march, polka and waltz rhythms, mixed with more wistfully sentimental songs. 

Frankfurter Rundschau, 31 December 2002
„..the playing of the Filarmonia di Bacau with precise articulation rising up to sparkling-light joy of waltz, lead fanciful and impulsive by Cornelia von Kerssenbrock..”