Die Stille des Morgens mit Tönen streicheln und sie so erfahrbar transparent machen – das schafft nicht jeder Musiker. Für Fleischanderl und ihr fast 300 Jahre altes Instrument fast ein Kinderspiel... Sein Klang macht glauben, dass es kein Tagwerk gibt, kein Räderwerk, angetrieben von beruflichen und privaten Pflichten – sondern nur das Sein und Verweilen im Augenblick. Fleischanderl schenkt mit ihrer Kunst eine Musik, in der die Gedanken freien Lauf haben dürfen. Sie werden sich nirgends stoßen an etwas Hartem. Alles fließt. 
Ulrich Meinhard, Göttinger Tageblatt, 28th May 2019, Internationale Händel-Festspiele Göttingen
The formation intercalated the voice with instrumental pieces such as "Non piu ebbe dido" by Andreas de Florentia and "Perche languir mi fai" from Landini, two instrumental pieces, where the mastery and skill with which Franziska Fleischanderl interpreted them left us really surprised at as to the value that can be given to an instrument like this, executed in many occasions inexperienced or without any rigor; but without a doubt Fleischanderl showed that the psaltery is more than a "companion" of the voice, it is the voice itself that, executed with precision, quality and above all knowledge of it is capabel of being the center of of attention.

Codalario, La Revista de Música, 7th December 2019, Fabiana Sans

Few musicians do what Franziska Fleischanderl does. She plays, with beguiling expertise, the silvery-sounding salterio (or psaltery) and is equally adept at both the plucking and hammer techniques used in 18th-century Italy, where the instrument was popular from Venice to Naples.
The Sunday Times, 5th august 2018, on Salterio italiano
There was nothing inexpressive about the penultimate visit to the charming simplicity of the little church of Connezac, once the chapel of the eponymous chateau. Within its intimate surroundings the Austrian dulcimer player Franziska Fleischanderl illustrated with captivating charm its capabilities both in her playing and introductions. Particularly interesting was the great difference in sonority dependent on whether the instrument is plucked or struck with hammers, while the range of subtly modulated sound that can be cajoled from it in the hands of an obvious expert was strongly projected.
Brian Robins, Early Music Review,  1st August 2018, on Itinèraire Baroque
The next concert (at the Église de Connezac) proved to be one of the most interesting of the day – indeed, of the whole festival. The Austrian musician Franziska Fleischanderl demonstrated and played her Salterio (tympanon), a delightful little instrument related to the psaltery or dulcimer, in this case her own restored original dating from 1725.
Andrew Beson-Wilson, August 2018, on Itinèraire Baroque
Franziska Fleischanderl plays a salterio made in 1725 by the renowned maker Michele Barbi ... and has done, and is doing a vast amount of practical research into 18th century playing techniques and repertoire. This, her second CD show- cases yet more of the spectacular results which were already evident in her first CD, Sacred Salterio.
Richard Blake, Nonsuch News, Autumn 2018, on Salterio italiano
I am Deeply impressed by the sound spectrum of the salterio on this CD. It is fascinating, that the salterio gilds and outshines the whole ensemble... I even ask myself why the harpsichord is so popular whereas the salterio sounds so much more brilliant?... Throughout the whole Music you can feel the refinement that happens through the salterio sound and, of course, it is brilliantly performed by Franziska.
Bernhard Schrammek (rbb), July 2018, on Salterio italiano
Franziska Fleischanderl has researched all salterio music recorded on this CD in Italian archives, and she has not just revived this music, she has also breathed new life into it. Ensouled, beautiful music in completely new sound colors. "Salterio italiano" is a Must-have for lover of Early Music.
Dirk Kruse (BR), BR-CD-Tipp June 2018, on salterio italiano
The audience is intrigued - not just by the salterio, but also by its virtuoso, adept and eloquent interpret.
Karin Poese, Eichstätter kurier, May 2018, on Musikfest Eichstätt
Franziska Fleischanderl was brilliant at playing the salterio both in her performance and compositions.
Balduin Sulzer, Kronen Zeitung, March 2018, on Musica Sacra
The audience's enthusiasm for this quartett was huge - they didn't want the artists leave the stage and two encores followed.
Christine Grubauer, Neues Volksblatt, March 2018, on Musica Sacra
The silvery sound of Franziska Fleischanderl's competently played salterio mixes wonderfully with Miriam Feuersinger's clear, straight and unobstrusive but expressive voice.
Michael Wersin, Rondo, April 2017, on Sacred Salterio
Undoubtedly this is a most fascinating disc, for historical and musical reasons. ... The role of the salterio makes this disc even more interesting and important as it documents a musical practice which is hardly known as yet. Franziska Fleischanderl deserves much praise for her exploration of this instrument and its repertoire and for the way she plays the salterio here. We can only hope that more repertoire with salterio will appear on disc.
Johan van Veen, Musica dei Donum, 2017, on Sacred Salterio
"Sacred Salterio" is a happening: scarce and beautiful. ... You will hear a mix of skillful intimity and hopeful world-weariness. Empathic women power.
Dirk Kruse (BR), BR-CD-Tipp, June 2017, on Sacred Salterio
This CD will give immense pleasure as well as historical interest.
Michael Wilkenson, Musicweb International, June 2017, on Sacred Salterio