“The Vivaldi concerto…is almost absurdly virtuosic, with incredibly long, fast-moving passages that whizzed by with literally almost no room for the soloist to breathe. Flautist Molly Barth, though, was on fire and in control the entire time.”
Jessica Curtier, The Capital Times, January 22, 2011
“A specialist in flute and piccolo, based mainly in the state of Oregon, Barth is a fabulous virtuoso on the high instrument, playing with technical panache while augmenting the written demands with her own embellishments. Truly ‘breathtaking’ — pun intended.”
John Barker, The Daily Page, January 22, 2011
“Aside from the incredibly agile work in the brisk outer movements, the central slow movement revealed a depth of expression rarely suspected in Vivaldi concertos….Ms. Barth at times seemed to dance along with the music, a modern day pied piper of compelling execution.”
Greg Hettmansberger, Dane101 Blog, January 25, 2011
“One of the best things to happen to the UO – and to Oregon music – this year is the arrival of Molly Barth. One of the world’s greatest flutists.”
Brett Campbell, The Eugene Weekly, January 29, 2009
“Like a good jazz player, she improvised according to what she got from the other players. Barth was fabulous, again”
David Stabler, The Oregonian, October 19, 2008
“Barth’s sculpted lyricism was intensely moving.”
Tom Manoff, Register-Guard, October 23, 2008
“Barth’s virtuosic ability created fluttering trills, sudden fortes, and soothing legato lines that were flat out remarkable.”
James Bash, Northwest Reverb, September 24, 2008
“Her high spirit was contagious, her legato like liquid and her ornaments glittering….”
James McQuillen, The Oregonian, July 14, 2007
“The ferociously talented flutist Molly Alicia Barth gave an electric performance of Bernard Rands’ “Memo 4,” effortlessly leaping across registers and conveying both a sense of intense dialogue and barely contained anxiety in the many piercingly high passages.”
James McQuillen, The Oregonian, November 20, 2006
“flutist Molly Alicia Barth was the dynamic live component of Suzuki’s tightly executed ‘Slipstream’ for seven-channel surround tape and soloist.”
Andrew Patner, Chicago Sun-Times, January 25, 2005
“amazingly executed by flutist Molly Barth”
Deirdre Kelly, Chicago Maroon, November 3, 2003
“deftly choreographed performances sparkle with ingenuity and enthusiasm”
Joshua Kosman, San Francisco Chronicle, April 8, 2002
“highly polished techniques and evident depth of feeling for a variety of contemporary styles, as well as a sartorial casualness and open manner”