'Katya KaBANOVA' at thE Lincoln CentER
"Mr. Schneider brought out Boris’s desperate longing for Katya through his plangent singing during their illicit love scene..."
Review: New York Times, 2017
"Tenor Gerard Schneider, excelled as Boris, who goes off to Siberia after his relationship to Katya is made public..."
Review: Musical America, 2017
"As his nephew Boris, tenor Gerard Schneider used his fine instrument and effective acting to create a romantic hero,
in spite of the fact that Janacek eschewed Romanticism..."
Review: Voce di Meche, 2017
'IDOMENEO' AT THE kILKENNY aRTS fESTIVAL
“The youthful Austrian-Australian Gerard Schneider (whose credits include the title role in La clemenza di Tito in Salzburg) was new to Idomeneo, replacing a sick John Mark Ainsley at one weeks' notice. Though slightly book-bound in the recitatives, there was nothing tentative about the glorious power with which he dispatched ‘Fuor del mar’.
The warm, Italianate sheen of his tenor was a constant pleasure, not least in its distinctive mezza voce.
Schneider is already a superb singer, and given time he’ll be a superb Idomeneo.“
Review: 'Opera' Magazine, December 2016
“The singing is excellent, led by a thrilling performance from tenor Gerard Schneider, plucked from the relative
obscurity of his studies at the JuIlliard to step in for indisposed John Mark Ainsley. Looking like a young Pavarotti,
Schneider has an imposing stage presence with a vivid range of colour and warmth of tone that compels attention...”
Review: Irish Examiner, 2016
'Iris' at the bard summerscape festivaL
Preview: Italianate Ardor, Beyond Puccini
The New Yorker, Alex Ross
Preview: ‘Iris’ weaves mythic tale of innocence, venality
Poughkeepsie Journal, Darrah Cloud and David Simpatico
Video Interview: Gerard Schneider in Bard SummerScape 2016’s production of “Iris”
“As Osaka, Gerard Schneider sang in a handsome, clarion tenor that he moulded to an
elegant croon for the softer, seductive passages in Act 2.”
Review: 'Opera' Magazine, December 2016
"The heroic tenor arias of the villainous Osaka call to mind Strauss’s challenging music for Bacchus in “Ariadne auf Naxos,” still more than a decade in the future...Gerard Schneider’s imposing tenor made Osaka’s libido vivid"
Review: The Wall Street Journal, 2016
"Tenor Gerard Schneider lends great variety and range to Osaka’s pleas for Iris’s favors..."
Review: Cultural Weekly, 2016
'...Conducted by Botstein, well cast (with an outstanding young tenor Gerard Schneider) and, for the most part, intelligently staged, the Bard Iris made a strong case for the opera’s musical qualities...'
Review: OperaPost, 2016
"...Tenor Gerard Schneider stole the show. In the role of Osaka, this young artist was the most impressive singer on the stage.
From the moment he opened his mouth I was truly transfixed and besotted with the sheer beauty, power and virile sweetness
of his singing. His is a soaring heart-wrenching tenor, an Italianate tenore spinto of the true romantic hero type...
...Osaka’s character is controversial and complex....His music is so romantic and he sounds so genuine that there must be something true in his declarations of “love,” at least when the character is in Schneider’s able hands..."
Review: Allegri con Fuoco, 2016
"Austrian-Australian Tenor Gerard Schneider is the real deal. His rich, expressive tenor was full of desire..."
Review: Berkshire Fine Arts, 2016
'Tenor Gerard Schneider worked his gleaming tones expertly to educe the many facets of the preening young libertine Osaka – cad, narcissist, sybarite, even callow, would-be romantic. Indeed, from the moment of Williams’ and Schneider’s entrance, perched above the horizon, ebon-clad, spying down upon Iris like two great predatory birds, they exerted a hypnotic fascination...'
Review: My Scena, 2016
"Gerard Schneider showed appealing tenor timbre as the scheming suitor Osaka, a role evidently designed around its creator
Fernando De Lucia’s remarkable ability to sing in the upper passaggio"
Review: Opera News, 2016
"Gerard Schneider’s beefy tenor pumped Osaka’s passionate phrases full of testosterone..."
Review: The Observer, 2016
"Tenor Gerard Schneider impressed as Osaka, the opera's anti-hero. His bright tone and bold onstage presence made this character's dimensions come out, testament to the skill of the libretto and his acting as well as the power of his singing..."
Review: Super-Conductor, 2016
"Satisfying Italian Robustness..."
Review: WQXR, 2016
"Gerard Schneider acquitted himself well of the difficult task of singing the delicate tessitura in the serenade “Apri la tua finestra"
Review: BachTrack, 2016
"Osaka, the youth who sets his sights on Iris, was sung with a limpid, gleaming upper register by Gerard Schneider. [His voice] never loses potency and his “Apri la tua finestra” serenade was spun out gorgeously..."
Review: Opera Teen, 2016
"Gerard Schneider's full-throated tenor met all of Mascagni's challenges..."
Review: Voce di Meche, 2016
"The tenor, Gerard Schneider as "Osaka" in robust and buoyant voice attempts to woo [Iris] with jewels..."
Review: Polly Guerin, 2016
'Der kaiser von atlantis' at the lincoln center
"Both tenor Gerard Schneider and bass Daniel Mirosław brought real bel canto virtues to the first scene of Der Kaiser.
Their singing suggested that even in the harshest of realms, beauty can thrive."
Review: Opera News, 2015
"Harlekin was very well performed and sung by tenor Gerard Schneider in the crispest German imaginable."
Review: Voce di Meche, 2015
Nuernberger Symphoniker Oper Gala
"Der charismatische Tenor Gerard Schneider begeisterte nicht nur durch sein Stimmvolumen, er zeigte unverblümt während
und unmittelbar nach seinem Auftritt, wie sehr ihm die Musik am Herzen liegt..."
(The charismatic tenor Gerard Schneider did not only thrill by the volume of his voice - both during and after his performance
he showed unmistakable how close to his heart music is...)
Review: Mittel Bayerische, 2015
"Dein ist mein ganzes Herz, die arie des Prinzen Sou Chong, interpretieret von Gerard Schneider, setzte den Glanzpunkt zur Gala.
Die grandiosen stimmen wurden mit tobendem applaus, roten Rosen, grossen Blumenbuketts
und beifallsbekundungen des Orchesters belohnt..."
(Dein ist mein ganzes Herz, the aria of Prince Sou Chong , interpreted by Gerard Schneider was the highlight of the gala . The grandiose voices were rewarded with rapturous applause, red roses ,large bouquets of flowers and the applause of the orchestra ...)
Review: Marlen News, 2015
IL TROVATORE At the SALZBURGER Festspiele
'..It was heartening to see the role of Ruiz so convincingly sung and acted by the young tenor Gerard Schneider...
Review: Opera News, 2014
La Clemenza di Tito
"Gerard Schneider als Tito der ersten Premiere überzeugte mit einem klangfarbenreichen Timbre in leisen Pianopassagen,
das er im zweiten Akt auch in kraftvollen Fortepassagen zu bewegender Wirkung bringen konnte..."
(Gerard Schneider as Tito in the Premiere convinced with a sound rich in timbre in quiet, piano passages and in the second act
was also able to create a moving effect with forceful forte passages...)
The Cooper and San Giovanni Battista
"As his nemesis, the sweet but not over-bright young cooper Colin, Gerard Schneider shows enormous promise. This is a bold, warm tenor voice and lends real colour to Arne’s simple, strophic songs."
The Arts Desk, 2014
"As the scheming apprentice Colin, Gerard Schneider revealed a strong, true tenor and a superb ability to act with the voice, coaxingly sweet in the tender moments, more ardent as his feelings welled, and nimble in the neat slapstick"
Opera Magazine, 2014
"Schneider was similiarly resonant as the King's Machiavellian counsellor in San Giovanni Battista.
His duet with Alison Langer's Erodiade was beautifully lyrical and demonstrated ease across a wide tessitura..."
Opera Magazine, 2014
"Gérard Schneider (Azaël, the prodigal son) all conveyed despair, hope, repentance and joy with moving musicality"
"...(Azael) was played by Gerard Schneider, who sailed through the role’s range with considerable power and control –
you could easily imagine him in a romantic tenor lead..."
The Classical Source, 2013
"...Gerard Schneider is impressive as the Prodigal son, Azael, with an expansive, manful, lyric tenor voice
which will surely develop into something even bigger with time..."
"...However, the palm undoubtedly goes to Gerard Schneider as General Sir Philip Wingrave, who managed to convey the character's age without the need for a lot of hokey make up, and has a clear and powerful tenor voice that wasn't fazed by the rather unexpected coloratura Britten expects of him..."
"...Gerard Schneider presents an extremely convincing portrait of a bellicose and irascible patriarch
in General Sir Philip Wingrave - I was particularly impressed by the ease with which he rendered the music
as heightened speech in his impetuous tirades against Owen..."
"...Gerard Schneider has about the most attractive tenor this side of Richard Tauber. Last year, he played Rodolfo in La Boheme, so if you were left wondering 'who's that guy with the sweet chops?', now you know.
I was enraptured with the pleasing quality of his voice; though pleasing is an adjective unintentionally liable to damn him, with feint praise. Suffice to say he glides up and down the tenor's scale so nimbly and smoothly, even a Domingo would be depressed. If he can touch two F's above, I wouldn't be surprised.
Schneider fronted with Che Gelida Manina from La Boheme by Puccini; brave, given is latter-day association with Pavarotti, but neither he, nor we, had cause to fear, since he effortlessly rose to the occasion.."