DIE BANDITEN AT OPER FRANKFURT
"Zahllos die größeren und kleineren Rollen, fast ausschließlich und hervorragend aus den eigenen Reihen besetzt.
Im Zentrum: Titelheld Gerard Schneider mit seinem weichen, lebhaften Tenor."
"Countless larger and smaller roles, almost exclusively and excellently cast from the company's own ranks.
At the center: title hero Gerard Schneider with his tender, lively tenor."
Review: Frankfurter Rundschau
"Die szenische Zurückhaltung schafft Raum für die Musik. Und die klingt in Frankfurt so brillant, dass man sich flugs eine Aufnahme von dieser Produktion wünscht...Auch Gerard Schneider als Räuberhauptmann Falsacappa hat genau den wendig-eleganten, durchaus schmeichlerischen Tenor, den man für Offenbach braucht."
"Scenic restraint creates space for the music and it sounds so brilliant in Frankfurt that one immediately wishes for a recording of this production.
Gerard Schneider as the robber chief Falsacappa has exactly the elegantly agile, thoroughly flattering tenor that one requires for Offenbach."
Review: Frankfurter Allgemeine Zeitung
"Gerard Schneider als Räuberhauptmann punktete mit einen kernigen, sehr ausgewogenen Tenor..."
"Gerard Schneider as the robber chief scores with an roobust, very well-balanced tenor..."
Review: Deutschlandfunk
"Raus kommt eine Produktion, die in sich stimmig ist, weil das szenische Timing stimmt, die Musik zündet und ihr Rhythmus auch den Ensembles in die Bewegungen choreografiert ist und sich das Protagonisten-Ensemble dem Esprit dieser Opéra-bouffe verschrieben hat.
Das gilt zuerst für die Räuberbande, die von Gerhard Schneider als Hauptmann Falsacappa mit Tenorschmelz und darstellerischem Charisma wie ein Familienunternehmen geführt wird."
"What emerges is a production that is coherent within itself, because the scenic timing is right, the music ignites, and its rhythm also choreographs the movements of the ensembles, and the protagonist ensemble is dedicated to the spirit of this opéra-bouffe.
"This applies first and foremost a band of robbers akin to a family business led by Gerhard Schneider as Captain Falsacappa
with tenorial charm and theatrical charisma -
Review: Concerti
"Die vielen schmissigen Räuberballaden, in denen die solistisch auftrumpfenden Charakterköpfe des Frankfurter Opernchors zu Höchstform auflaufen und die Kostüme Irina Bartels, die aus Fundus-Fragmenten immer neue, irrwitzige Roben erstellte, tragen zum besonderen Gelingen der Premiere bei - ebenso wie Katharina Wiedenhofers wirkungsvolle Choreografie und die herausragenden schauspielerischen Talente dreier Ensemblemitglieder,
die alle in ihren Rollen debütieren:Gerard Schneider als bauernschlauer Banditenchef Falsacappa."
"The many snappy robbers' ballads, in which the soloists of the Frankfurt Opera Chorus are in top form, and the costumes by Irina Bartels, who constantly created new, crazy robes from found fragments, contribute to the special success of the premiere - as do Katharina Wiedenhofer's effective choreography and the outstanding acting talents of three members of the ensemble, who are all making their debut in their roles
including Gerard Schneider as the shrewd bandit boss Falsacappa."
Review: Classicpoint / Musikheute
"Die Präsentation des Personals bietet die Gelegenheit zu schwungvollen Solo- und Ensemblenummern, die musikalisch in lockerer Perfektion präsentiert werden. Die Rollen sind typgerecht besetzt. Gerard Schneider leiht dem Räuberhauptmann seinen saftigen Tenor..."
"The presentation of the personnel provides the opportunity for lively solo and ensemble numbers, which are presented musically with casual perfection.
The roles are cast according to type. Gerard Schneider lends the robber chief his rich tenor."
Review: Der Opernfreund
"Fast alle aus dem eigenen Ensemble sind besetzt - Kompliment! - es hat sehr viel spass gemacht.
In der Hauptrolle, Gerard Schneider als Räuberhauptmann in spe erleben."
"Almost everyone was cast from our own ensemble- compliments! - It was a lot of fun.
In the leading role, Gerard Schneider is a robber chief to experience."
Review: HR2 Kultur
"Die zahlreichen Akteure auf der Bühne waren durchweg voll auf der Höhe. Allen voran der Banditenanführer Falsacappa,
gesungen und gespielt vom Tenor Gerard Schneider."
"The numerous actors on stage were consistently at the top of their game. Foremost among them was the bandit leader Falsacappa,
sung and played by the tenor Gerard Schneider."
Review: H. Boscaiolo
"Gerard Schneider ist ein leidenschaftlich gutmütiger Falsacappa."
"Gerard Schneider is a passionate and good-natured Falsacappa."
Review: Die Deutsche Buehne
Rusalka at STAATSOPER HANNOVER
"Der reuige Prinz stirbt, sich mit den nämlichen Spiegelscherben ritzend, in Rusalkas Armen. Gerard Schneider, mit seinem Jäger muskulös hereintollend, gibt sich mit schmelzendem, schön klar in die Höhe öffnendem Tenor der neuen Begeisterung für Rusalka wie nachher der Fremden Fürstin hin und klagt sich dann traurig schön und mit verzückten Kopftönen dem Totenreich entgegen, wo er auf ein Wiedersehen mit Rusalka hofft."
The repentant prince dies, cutting himself with the shards of a mirror, and dies in Rusalka's arms. Gerard Schneider bounds in looking like a muscular huntsman, sings with a melting tenor that opens beautifully and clearly into the heights, and gives himself over to a new enthusiasm for Rusalka -as he does later for the Foreign Princess - and then laments sadly and beautifully, with rapturous head tones, while descending in to the realm of the dead, where he hopes for a reunion with Rusalka."
Review: Oper Magazine, May 2023
"Gerard Schneider singt (Der Prinz) mit wohlgerundetem, feinem, sensibel phrasiertem Tenor."
"Gerard Schneider sings the Prince with a well-rounded, dignified, and sensitively phrased tenor"
Review: Opernwelt, May 2023
"Gerard Schneider gibt dem Prinzen mit schlankem Tenor silbrig leuchtende Eleganz."
"Gerard Schneider gives the Prince a silvery elegance with his slender tenor."
Review: Hannover Allgemeine
"Der inzwischen reuige Prinz stirbt zuletzt in Rusalkas Armen. Gerard Schneider hat als Liebender einen schmelzenden, schön klaren Tenor
und klagt sich am Ende mit verzückten Kopftönen dem Totenreich entgegen."
"The now penitent prince finally dies in Rusalka's arms. As the lover, Gerard Schneider had a melting, beautifully clear tenor
and in the finale journeys towards the realm of the dead with rapt head tones."
Review: Harz Kurier | Braunschweiger Zeitung
"Gerard Schneider gibt einen Prinzen mit maskulin eingedunkeltem, strahlkräftigem Tenor."
"Gerard Schneider gives a Prince with a darkly masculine, radiant Tenor."
Review: OMM, 2023
"Gerard Schneider als Prinz überzeugt darstellerisch und zeigt ein angenehmes Timbre..."
Gerard Schneider as the Prince convinces as an actor and displays a pleasant Timbre..."
Review: Neue Presse
Rusalka at the Garsington Festival
“The cast is good and the leading couple especially worth travelling to hear. Austrian-Australian tenor Gerard Schneider is an advantageous find, embracing both the poetry and passion of the Prince.”
Review: Financial Times, 2022
"Gerard Schneider is impressive in the challenging role of the Prince, singing with clean-toned, ringing heft."
Review: The Telegraph, 2022
“The Prince is an unfulfilling role that seems not to have inspired either Dvorák or his librettist Jaroslav Kvapil, although if they’d heard Gerard Schneider spin their raw material into gold they might well have reconsidered. The tenor’s Italianate gleam suited the music admirably, and it took the performance of Musa Ngqungwana, an outstanding South-African who has been stirring the musical waters on both sides of the Atlantic, to match him.”
Review: Musical America, 2022
"Ihr zur Seite stand der österreichisch-australische Tenor Gerard Schneider, der seinen Part mit tenoralem Schmelz und einer geschmeidig-warmen Stimme meisterte."
"At her side was Austrian-Australian tenor Gerard Schneider, who mastered his role with tenoral melt and a supple, warm voice"
Review: Klassik Begeistert, 2022
"Gerard Schneider, fearless at the top of the Prince's exacting tessitura, made much of his vacillating, heartless character.
Few grander houses have cast Rusalka as strongly as this. Audiences in Edinburgh, where the production travels this month, are in for a treat."
Review: Opera Magazine, 2022
"Much of the evening turns on Romaniw’s long-awaited performance in the title role, and she is unquestionably magnificent in it, her voice generous in tone, her delivery rapturous and ecstatic – particularly in the final scene with the equally passionate Schneider, when the pair of them unleash a torrent of sound and emotion that is overwhelming."
Review: The Guardian, 2022
"Romaniw is ideally partnered by Gerard Schneider, who brings confident command and an almost Heldentenor thrill to the challenging role of the Prince she falls in love with."
Review: The Stage, 2022
"Gerard Schneider’s vibrantly sung Prince, perhaps frustrated by trying to make love to a silent, frigid supernatural, lets off steam by pulling the entrails out of a deceased deer."
Review: The Times, 2022
"The cast is outstanding, notably, as Rusalka, the Welsh soprano Natalya Romaniw
and Gerard Schneider as her prince."
Review: Weekend Telegraph, 2022
"Gerard Schneider was a deeply sympathetic Prince, a romantic, troubled soul, bright toned singing with elegance and weight."
Review: Opera Scene, 2022
"[Natalya Romaniw's Rusalka] has a natural match in Gerard Schneider's supple tenor - a fairytale Prince..."
Review: iNews, 2022
"Douglas Boyd draws sounds of Siegfried-like enchantment from the Philharmonia Orchestra, and Gerard Schneider sings with Italianate lyricism as the Prince. This is as good as opera gets, on a par with anything you’d experience in a major international house. See it if you can."
Review: The Spectator, 2022
SALOME (CONCERT) AT DUTCH NATIONAL OPERA
"In geënsceneerde opvoeringen wordt het verhaal omkleed met de op Salome verliefde officier Narraboth
(met klemmende uitdrukking gezongen door Gerard Schneider)"
"In staged performances, the story is framed by the officer Narraboth, who is in love with Salome
(sung with convincing expression by Gerard Schneider)..."
Review: Opera Magazine, 2022
"Zodra de zwoele houtblazers de beginscène inleiden, schalt de rijke tenorstem van Gerard Schneider door de zaal. Hij speelt een paleiswacht die zelfmoord pleegt als Salome hem achteloos afwijst. Het wordt al snel duidelijk dat de hele bezetting van hetzelfde hoge niveau is."
"As soon as the sultry woodwinds introduce the opening scene, Gerard Schneider's rich tenor voice blasts through the hall. He plays a palace guard who kills himself when Salome carelessly rejects him. It soon becomes clear that the entire line-up is of the same high standard."
Review: Volksrant, 2022
"Ottimo il Narraboth di Gerard Schneider come pure tutto il folto stuolo di comprimari."
"Gerard Schneider's Narraboth is excellent, as are all the large cast of comprimarios."
Review: Opera Click, 2022
L'Amico Fritz at Tiroler Festspiele Erl
"Auf der Bühne begeistert ein perfektes Gesangsensemble. Gerard Schneider glänzt bei der Interpretation des verzweifelten Fritz.
Sein strahlender Tenor riss das Publikum zu einem spontanen Applaus hin."
"On stage, a perfect vocal ensemble inspires. Gerard Schneider shines in his interpretation of the desperate Fritz.
His radiant tenor drew the audience to spontaneous applause."
Review: Tiroler Tageszeitung, 2021
"Gerard Schneider spielt den Dauerbetrunkenen wie den mit sich hadernden Hagestolz wunderbar und singt ihn mit bestechend schön timbriertem Tenor mit klangvoll sinnlicher Tiefe wie hervorragend gemeisterter, vertrackt hoher Mittellage und runden Spitzentönen.
Die Reise nach Erl lohnt also auch in diesem Jahr gleich doppelt."
"Gerard Schneider plays the perennially drunk and struggling Bachelor wonderfully and sings it with a captivating, beautifully timbred tenor with both sonorous sensual depths as well as an excellently mastered, intricately high middle position with rounded top notes.
The trip to Erl is therefore doubly worthwhile this year."
Review: Süddeutsche Zeitung, 2021
"Möglich wäre dies freilich nicht ohne das homogen agierende Ensemble, das hier um die große Liebe und um Anerkennung für Mascagni kämpft. An erster Stelle Titelheld Gerard Schneider, der zu Beginn die lyrischen Qualitäten seines sicher geführten Tenors ausspielen darf, ehe er bei den dramatischen Ausbrüchen im dritten Akt noch einmal neue Facetten zeigt und dafür mit verdientem Szenenapplaus bedacht wird.
Wunderbar weich intoniert unter anderem das bereits erwähnte Duett „Suzel, buon dì!“,
bei dem sich seine Stimme ideal mit dem dunklen Sopran von Karen Vuong mischt. "
"Of course, this would not be possible without the homogeneous acting of the whole ensemble, which fights here for great love and recognition for Mascagni. First and foremost, title hero Gerard Schneider, who is able to show the lyrical qualities of his well-guided tenor at the beginning, before he shows new facets again in the dramatic outbursts of the third act in which he is rewarded with deserved applause.
Among other things, in the already mentioned duet "Suzel, buon dì!",
he brings a wonderfully soft voice that mixes ideally with the dark soprano of Karen Vuong. "
Review: OVB Heimatzeitungen, 2021
"...Fritz, stimmgewaltig verkörpert von Gerard Schneider, für seine hochemotional angelegte, zentrale Liebesarie spontanen Szenenapplaus erhielt."
"... Fritz, powerfully embodied by Gerard Schneider, received spontaneous applause for his highly emotional, central love aria."
Review: Volksblatt / Salzburger Nachrichten, 2021
"Gerard Schneider verfügt als Titelheld über einen schöngefärbten Tenor..."
"Gerard Schneider has a beautifully coloured tenor as the titular hero..."
Review: Kurier AT, 2021
"Es ehrt Gerard Schneider und Karen Vuong, wenn sie sich nach ihren großartigen Erler Auftritten in „Rusalka“ und „Königskinder“ mit ebensolchem Enthusiasmus in Mascagnis mitunter plumpen Preziösen verausgaben. Beide singen über die Kleinlichkeit des Librettos berauschend hinweg, machen die Musik zwischen Wasser und Sirup zur Premium-Limonade für Schlemmer"
"Gerard Schneider and Karen Vuong are honoured when, after their great Erler performances in "Rusalka" and "Königskinder", they extend themselves with the same enthusiasm in to Mascagni's sometimes clumsy preciousness. Both sing intoxicatingly over the pettiness of the libretto, making the music between water and syrup a premium lemonade for gourmets.
Review: Concerti DE, 2021
"Am Ende bekommt dann aber doch der ebenfalls kräftig mit freier Höhe trompetende Gerard Schneider sein elsässisches Fräulein –
und alles ist "italo-operngut".
"Also strong with trumpeting and free top tones, was Gerard Schneider who gets his Alsatian Miss in the end –
and everything is 'italo-operatic good'."
Review: MDR Klassik, 2021
Das Leben ist die Liebe“ schwärmt dieser Freund Fritz, mit kernigem Tenor und sympathischem Spiel von Gerard Schneider verkörpert,
zu Beginn des Schlussaktes.
"Life is love" raves this friend Fritz, embodied here with a powerful tenor and sympathetic acting by Gerard Schneider,
at the beginning of the final act."
Review: Tabula Rasa Magazin, 2022
"Mit ihrer nach "Rusalka" und "Königskinder" dritten Produktion bei den Tiroler Festspiele Erl werden Karen Vuong und Gerard Schneider
definitiv zum Operntraumpaar von Erl."
"With their third production at the Tiroler Festspiele Erl after "Rusalka" and "Königskinder", Karen Vuong and Gerard Schneider
have definitely become the opera dream couple of Erl."
Oper! Kurzkritik
"Gerard Schneider als Fritz hat wie auch Karen Vuong als Suzel uberzeugt mit schmelz und Italianita in der Stimme."
"Gerard Schneider as Fritz as well as Karen Vuong as Suzel convince with schmalz and Italianita in the voice."
Review: Deutschland Rundfunk, 2022
Stürz, Franziska | 27.12.2021, 20:20 Uhr
"Als Fritz hört man den wohlklingenden Tenor von Gerard Schneider."
"As Fritz you can hear the melodious tenor of Gerard Schneider."
Review: Kleine Zeitung, 2021
KÖNIGSKINDER AT OPER FRANKFURT
"Gerard Schneiders Darstellung des Königssohns war selbstbewusst, von manchmal überschwänglicher Art,
aber stimmlich stets mitreißend und geprägt durch sein warmes Timbre voll tenoralem Schmelz."
"Gerard Schneider's portrayal of the king's son was self-confident, exuberant in manner,
but vocally always stirring and marked by his warm timbre full of tenoral melt."
Review: Bachtrack, 2021
Königskinder at Tiroler Festspiele Erl
"Karen Vuong als Gänsemagd und Gerard Schneider als Königssohn sind ein rührendes, ernstes Paar in dieser nachtschwarzen Geschichte und in fordernden Partien, die sie überzeugend jugendlich bewältigen: der unermüdliche, angenehme Tenor Schneiders wie der reizvoll dunkelgrundierte, mit flattrigem Vibrato versehene Sopran Vuongs.
"Karen Vuong as the Goose Maiden and Gerard Schneider as the Königssohn are a touching, earnest pair in this dark tale and appear in demanding roles that they handle with convincing youthfulness: Schneider's tireless and pleasing tenor as much as Vuong's delightfully dark-primed soprano with a fluttery Vibrato.
Review: Frankfurt Rundschau, 2021
"The tenor Gerard Schneider was impressive as the King's Son who becomes a swineherd for a time and finally achieves true nobility of character. He sang with both power and expression."
Review: Opera Magazine, January 2022
"Die Tiroler Festspiele Erl besetzten dieses Werk mit großartigen Sängerinnern und Sängern. Allen voran mit warmer und eleganter Stimmführung Gerard Schneider als selbstbewusster Königssohn."
"The Tiroler Festspiele Erl has cast this work with superb singers. First and foremost, Gerard Schneider gives a self-confident Königssohn with a warm and elegant vocal technique"
Review: Das Opernmagazin, 2021
"Gerard Schneider gab einen famosen Königssohn mit eindrucksvoller Tenorstimme."
"Gerard Schneider gave an excellent Königssohn with a most impressive tenor voice. "
Review: Tiroler Tageszeitung, 2021
"Dazu trägt auch die Stimmgewalt der beiden Hauptrollen bei. Gerard Schneider gibt einen äußerst überzeugenden Königssohn... "
"The vocal power of the two leads also contributes to this [success]. Gerard Schneider gives an extremely convincing Königssohn..."
Review: Salzburger Nachrichten / BVZ / Oberösterreichisches Volksblatt, 2021
"Autre grande voix, le ténor australo-autrichien Gerard Schneider, à la carrière internationale déjà bien établie, campe d’un bloc un colosse plein d’attentions et d’émotion, ne voyant rien des pièges qui se tissent autour de lui. Vocalement, l’équilibre est parfait avec sa partenaire, tant au niveau de la sonorité des voix que de leur accord."
"Another great voice - the Australian-Austrian tenor Gerard Schneider, with an already well-established international career, fully inhabits this colossal role with great focus and emotion, seeing nothing of the snares that are woven around him. Vocally, the balance is perfect with his partner, both in terms of the sonority of the voices and in their tuning."
Review: Forum Opéra, 2021
"...Gerard Schneider als Königssohn und Iain MacNeil als Spielman mit Energie und intensivem Ausdruck nutzen. "
"...Gerard Schneider as the Königssohn and Iain MacNeil as Spielman with energy and intense expression. "
Review: Salzburger Nachrichten, 2021
"Der Tenor Gerard Schneider und die Sopranistin Karen Vuong sind dank ihrer Ausstrahlung und ihres Liebreizes die idealen Königskinder."
"The tenor Gerard Schneider and the soprano Karen Vuong are, thankful to their charisma and charm, the ideal Royal Children."
Review: Kieler Nachrichten, 2021
"Verlässlich an den maßgeblichen Stellen das Sängerensemble: Der österreichisch-australische Tenor Gerard Schneider als Königssohn (klar geführt vom Lyrischen bis zu dramatischen Ausbrüchen, mutig an die Grenzen gehend)."
"The ensemble of singers is reliable at the decisive points: The Austrian-Australian tenor Gerard Schneider as the Königssohn (leading clearly from the lyrical to the dramatic outbursts, and boldly pushing the limits)"
Review: Die Presse, 2021
"Die Produktion, die vor einem Jahr hätte herauskommen sollen und exklusiv für die Festspiele in Erl entstand, prunkt in den Hauptpartien mit einer tollen, vor allem aus Frankfurt angereisten Besetzung. Das Liebespaar, Gerard Schneider und Karen Vuong, rührt mit innigem Timbre..."
"The production, which should have been released a year ago and was created exclusively for the Erl Festival, boasts a great cast in the main roles, especially from Frankfurt. The lovers, Gerard Schneider and Karen Vuong, move the listener with intimate timbre..."
Review: Süddeutsche Zeitung, 2021
"Gerard Schneider überzeugt als Königssohn... "
" Gerard Schneider convinces as the Königssohn..."
Review: Vorarlberger Nachrichten, 2021
"Also, musikalisch war das sehr ansprechend und sehr uberzeugend geleitet von Karsten Januschke. Karen Vuong und Gerard Schneider in den Hauptrollen ganz hervorragend besetzt..."
"So, musically it was very appealing and very convincingly directed by Karsten Januschke. Karen Vuong and Gerard Schneider in the leading roles were excellently cast..."
Review: Deutschlandfunk, 12.07.2021
"Bernd Loebe gilt als Intendant mit ausgesprochenem Sinn und Geschmack für Gesang, auch als echter Talentscout für junge Stimmen. Viele davon hat er nun von Frankfurt mit nach Erl gebracht, wo das sängerische Niveau mit dem internationaler Festspiele fraglos mithalten kann.
So sind in den «Königskindern» die drei anspruchsvollen Führungsrollen mit dem Tenor Gerard Schneider als naivem, dabei jugendlich emphatischem Königssohn...wirklich glänzend besetzt"
"Bernd Loebe is regarded as an artistic director with a pronounced sense and taste for singing, and also as a real talent scout for young voices. He has now brought many of them with him from Frankfurt to Erl, where the level of singing can unquestionably keep up with the international festival.
Thus in the "Königskinder" the three demanding principal roles with the tenor Gerard Schneider as the naive, at the same time youthfully emphatic prince's son...are really brilliantly cast"
Review: Neue Zürcher Zeitung, 2021
"... Viel schwieriger das Titelpaar zu besetzen: Da überzeugten...der stattliche Königssohn-Tenor Gerard Schneider sowohl äußerlich wie vokal"
"... Much more difficult to cast are the title couple: The impressive Königssohn-Tenor of Gerard Schneider [was] convincing, both outwardly and vocally."
Review: Neue Musik-Zeitung, 2021
"Sängerisch Ist der Abend durchgehend gut besetzt Gerard Schneider mit seinem lyrischen vollen Tenor ist ein glaubwürdiger Königssohn"
"In terms of singing, the evening is well cast. Gerard Schneider, with his lyrical full tenor, is believable as the Königssohn"
Review: Opera-Online, 2021
'Werther' at Oper Frankfurt
Die Oper Frankfurt nimmt Jules Massenet's Werther wieder ins Programm und kann mit Gerard Schneider einen in jeder Hinsicht überragenden Debütanten in der Titelpartie präsentieren"
"Bringing Massenet's Werther once again into repertoire, Oper Frankfurt presents Gerard Schneider in the title role who gives - in every respect - an outstanding debut..."
Review: Frankfurter Neue Presse, 2020
"In der Titelrolle kann Gerard Schneider das Versprechen einlösen, welches er seinerzeit mit seinem Hausdebüt als Rusalka-Prinz gegeben hatte: Sein jugendlich-saftiger Tenor paßt ausgezeichnet zu Werthers Sturm-und-Drang-Pathos. Die für französische Tenorpartien ebenso charakteristischen wie heiklen hohen Passagen meistert er elegant durch den geschmackvollen Einsatz der Kopfstimme"
"In the title role, Gerard Schneider is able to keep the promise he made in his debut as the Prince in Rusalka: his youthful, lush tenor tenor fits perfectly with Werther's Sturm-und-Drang pathos. He masters the high passages - which are as characteristic of French tenor parts as they are delicate - elegantly through the tasteful use of head voice."
Review: Der Opernfreund, 2020
'Rusalka' at Tiroler Festspiele Erl
...Auf gleichem Niveau sang Gerard Schneider einen ausgezeichneten Prinzen. Der Österreichisch-Australische Tenor beeindruckte mit klarem, angenehmem Timbre, sicherer, Strahlende Höhe, berührendem einsatz der Kopfstimme als sterbender sowie attraktiver, schlanker buehnenerscheinigung.
Schon jetzt darf man sich auf sein Rollendebut als Königssohn in Engelbert Humperdincks Oper >>Königskinder<< nächsten Sommer in Erl Freuen.
..at the same high level, Gerard Schneider sang an excellent Prince. The Austrian-Australian tenor impressed with a clear and pleasant timbre, secure and radiant heights, a touching use of the head voice as he lay dying, as well as an attractive, and slender stage appearance.
You can already look forward to his role debut as King's Son in Engelbert Humperdinck's opera >>Königskinder<< next summer in Erl.
Review: Opernglas, 2020
Warum sollte Erl auf andernorts bewährte Bestleistungen verzichten?
Nach ihrem „Rusalka“-Auftritten legen hier Karen Vuong in der Titelpartie und der in seinem Heimatland Österreich bisher nur marginal zur Kenntnis genommene Tenor Gerard Schneider noch einmal ordentlich zu.
Gerard Schneider gibt dem Prinzen einen unwiderstehlich italienischen Anstrich und nimmt auch alle unbequemen Höhen, bei denen seine Kollegen kneifen
Why should Erl forego the best performances given elsewhere?
Following “Rusalka” appearances [in Frankfurt] , Karen Vuong in the title role and the tenor Gerard Schneider, who has so far been only marginally recognized in his home country of Austria, are once again gaining ground.
Gerard Schneider gives the prince an irresistible touch of Italianate vocal colour and also easily navigates all the uncomfortable heights at which others pinch...
Review: Neue Musik-Zeitung, 2019
"Auch dass sich der in Liebesfragen äußerst unstete Prinz, famos verkörpert von Gerard Schneider, letztlich aus dieser Menschenwelt katapultiert und bereitwillig und dem Pakt treu in den Armen von Rusalka stirbt, erschien in der Erl-Fassung absolut logisch.
Für die Darbietung gab es dann auch euphorischen Applaus, der sich vor allem bei den Hauptdarstellern Karen Vuong und Gerard Schneider mit lauten Bravo-Rufen vermengte"
"The fact that the Prince-- famously embodied by Gerard Schneider-- is extremely unsettled in issues of love and is ultimately catapulted from this human world to willingly and faithfully die in the arms of Rusalka appeared absolutely logical in this Erl version.
There was also euphoric applause for the performance, which was blended with loud Bravo calls, especially for the leading singers Karen Vuong and Gerard Schneider... "
Review: Österreichischer Rundfunk (ORF) | Salzburg-Nachrichten | Volksblatt, 2019
"Gerard Schneider ist ihr geliebter, fescher Prinz. Er singt ihn mit ungefährdeten, strahlenden Höhen seines ausgesprochen schönen Tenors"
Gerard Schneider is her beloved, handsome prince. He sings radiantly and assuredly in his upper register with his distinctly beautiful tenor.
Review: Kurier, 2019
"Ihr stand mit Gerard Schneider ein Prinz mit Titelbild-Figur und strahlendem Tenor-Glanz gegenüber"
"Opposite her is Gerard Schneider as the Prince, with model good looks and a radiant, gleaming Tenor."
Review: Abendzeitung-Muenchen, 2019
Il tenore Gerard Schneider, anche lui membro dell’Ensemble dell’Opera di Francoforte, nel ruolo del Principe è al pari della sua fidanzata lacustre, brilla per la qualità della voce, dal timbro sorprendentemente bello e inconfondibile, legato impeccabile e un’espressività al limite dell’immaginabile. Centinaia di colori, mille sfumature – questo è l’altissima arte di Schneider che gli permette di creare il personaggio del Principe in tutta la sua ricchezza umana. Il suo declamato nella scena finale, la sua morte lenta tra le braccia di Rusalka provocano una catarsi in sala.
The tenor Gerard Schneider - also a member of the Oper Frankfurt Ensemble - in the role of the Prince is much like his lakeside girlfriend and possesses a voice that radiates quality, with a surprisingly beautiful and unmistakable timbre, impeccable line and an expressiveness beyond any imagineable limit. Hundreds of colors, a thousand shades - it is Schneider's very high art that allows him to create the character of the Prince in all his human wealth. His declamation in the final scene and his slow death in Rusalka's arms caused a cathartic release in the room.
Review: L'Ape Musicale, 2020
"Das düstere Schicksal des unsteten Prinzen würzt Gerard Schneider mit brillantem Tenorschmelz - eine tolle Wiederbegegnung mit dem ehemaligen "Young Singer" der Salzburger Festspiele"
"Gerard Schneider gives flavout to the gloomy fate of the mercurial prince with a brilliant, melting tenor - a great reunion with the former "Young Singer" of the Salzburg Festival."
Review: Salzburger-Nachrichten, 2019
Ihr zur Seite stand ein ebenso wunderschön singender Gerard Schneider als Prinz
At her side was the equally wonderful singing of Gerard Schneider as the Prince
Review: Tiroler Daily Newspaper, 2019
Gerard Schneider canta il Pincipe con baldanza e squillo eroico...
Gerard Schneider sings the Prince with confidence and heroic squillo...
Review: Opera Teatro, 2019
Ihr zur Seite ist mit Gerard Schneider ein ausgesprochen attraktiver Prinz zu erleben, der diesen mit wunderbarem Schmelz und Höhen singt.
At her side is Gerard Schneider, a very attractive prince to experience, who sings the role with a wonderful lustre and upper register.
Review: Kleine-Zeitung
'Martha' at Oper Frankfurt
"Gerard Schneider mit einem Tenor, der einem das Ohr verschließt für alle zweitklassigen Besetzungen des Lyonel. Das Vollendete ist möglich, also will man es auch künftighin bekommen.
Gerard Schneider possesses a tenor that closes one's ears to all Second-Class interpretations of Lyonel.
Perfection is possible so get in while you can"
Review: Frankfurter Rundschau, 2019
Gerard Schneider deserved special praise for making his Narraboth so memorable - it is so often a role that gets somewhat lost in the mix.
Review: Opera Magazine, July 2020
"También destacó el protagonista masculino en manos del tenor Gerard Schneider, de grandes cualidades y que estuvo casi siempre acertado
en un papel nada fácil. Con facilidad en el agudo, matizando cuando fue necesario, se lució tanto en la melódica Ach! so fromm, ach! so traut
como en la más coral Mag der Himmel Euch vergeben.
Also a highlight was the male protagonist in the hands of tenor Gerard Schneider, a singer of great quality that almost always found success
in a role that is not at all easy. With ease in the upper range, and nuanced when necessary, he shone greatly in the melodic Ach! so fromm, ach! so traut
and also in the chorale Mag der Himmel Euch vergeben"
Review: Platea Magazine, 2019
'Salome' at Oper Frankfurt
"Ein sängerischer Höhepunkt ist der volltönende, klangschöne Tenor von Gerhard Schneider in der kurzen Partie des Salome-Anbeters Narraboth"
"A singing highlight is the full-bodied, beautiful tenor of Gerard Schneider in the short part of Salome worshipper Narraboth"
Review: SWR2, 2020
Narraboth und der Page sind mit Gerard Schneider und Katharina Magiera luxuriös besetzt...
Narraboth and the page are luxuriously cast with Gerard Schneider and Katharina Magiera
Review: Frankfurter Rundschau, 2020
So bleiben zum beispiel die beiden soldaten, der Page und sogar Narraboth (der mit geschmeidiger Tenorstimme zumindest akustisch präsent Gerard Schneider) meist unsichtbar in Finstern, wahrend Salome Ausgelassen wie ein kleines mädchen im Schweinwerflicht tänzelt und hüpft.
For example, the two soldiers, the Page and even Narraboth (Gerard Schneider is, at least, acoustically present with his supple tenor voice) mostly remain invisible in darkness, while Salome exuberantly prances and bounces like a little girl in the spotlight.
Review: Opernglas, 2020
"Nur Hauptmann Narraboth huscht vorbei, der mit dem intensiven lyrischen Tenor von Gerard Schneider von seiner Liebe zu Salome berichtet.
Später erfährt man aus dem Dunkel die Nachricht von seinem Freitod."
"Only Captain Narraboth flits through [the light], and with the intensely lyrical tenor of Gerard Schneider, tells of his love for Salome.
Later, one hears news of his suicide in the darkness."
Review: Main-Spitze, 2020
Barrie Kosky (er)findet für die Oper eine atemberaubend präzise, wunderbar konzentrierte Sichtweise. Wenn etwa der nach kurzem, wilden Liebesgesang (exzellent: Gerhard Schneider) durch Freitod entseelte Narraboth vom Herrscher Herodes ungläubig betrachtet wird, bleibt der Tote im Dunkeln.
Barrie Kosky finds a breathtakingly precise, wonderfully concentrated perspective for the opera. For example, the enraptured Narraboth is driven to suicide after his short, wild love song (Excellent: Gerard Schneider) and though viewed incredulously by his ruler Herod, the dead man remains in the dark.
Review: Oper! Das Magazin, 2020
"Mit strahlendem Tenor kündete Gerard Schneider als verliebter Narraboth von den optischen Reizen der Salome"
"With a radiant tenor, Gerard Schneider as the doting Narraboth announced the visual charms of Salome"
- Review: MERKEROnline, 2020
"Den Narraboth singt Gerard Schneider mit jungheldischem Tenor"
"Gerard Schneider sings Narraboth with a young heroic tenor"
Review: Neue Merker, 2020
Ganz vorzüglich besetzt sind übrigens auch der Narraboth mit Gerard Schneider und der Page mit Katharina Magiera.
Additionally, the Gerard Schneider as Narraboth and Katharina Magiera as the Page are also excellently cast.
Review: FAZ, 2020
Un po’ in ombra (è il caso di dirlo) il Narraboth di Gerard Schneider, che si fa notare per il bel colore lirico della prova vocale.
A little in the shadows (it has to be said), Gerard Schneider's Narraboth stands out vocally with his beautiful lyrical colour.
Review: Giornale della Musica, 2020
Ausgezeichnet Gerard Schneider als Narraboth...
Gerard Schneider was excellent as Narraboth...
Review: Opera Lounge, 2020
'KRÓL ROGER' at Oper Frankfurt
"Mit seinem charaktervollen Tenor sorgt Gerard Schneider als dionysischer Hirte für Aufruhr –
und für einen Lichtblick auf der Frankfurter Bühne: Ein blonder Strahlemann im weißen Anzug,
läuft er barfuß und stellt gern seine behaarte Brust zur Schau.
With his tenor full of personality, Gerard Schneider as a Dionysian shepherd, causes uproar -
and a bright spot on the stages of Frankfurt: a blonde Good-looking, cheerful and Charismatic man in a white suit,
he runs barefoot and gladly shows off his hairy chest. "
Review: Deutschland Funk, 2019
Alle Solo-Partien dieser Oper sind ein Kraftakt. Wie extrem die Anstrengungen sind, hat man in der Frankfurter Premiere keinem angehört.
Gerard Schneider als Hirte ist eine perfekte Wahl.
All solo roles in this opera are a show of strength. Even with how extreme the efforts were in this Frankfurt Premiere,
noone struggled. Gerard Schneider as the Shepherd is a perfect casting.
Review: BR Klassik, 2019
"Hier ist „Król Roger“ Euripides’ „Bakchen“ verwandt, wobei Szymanowski, Cambreling, Erath
und der Tenor Gerard Schneider dafür sorgen, dass dem Hirten wirklich nicht zu widerstehen ist.
Schneiders Hirtengott, höchst ansehnlich, fundamental respektlos, mit blondem Zauselhaar (an mehr als einen Star lässt sich denken)
und mystisch aufgehellten Augen, ist eher das stabile, lichte Tenorpendant zu Roxane, die sich weiß Gott nicht zufällig zu ihm hingezogen fühlt.
Eine ungemein umgarnende Triokombination, dazu wird glänzend...
Here is "Król Roger" related to Euripides' "Bacchae", and Szymanowski, Cambreling, Erath
and the Tenor Gerard Schneider ensure that the shepherd is truly hard to resist.
Schneider’s Shepherd-God, most impressive and fundamentally disrespectful, with blond tousled hair (a likeness to more than one star comes to mind)
and mystically brightened eyes, brings a robust, clear tenor to charm Roxane, who knows that God is by no accident attracted to her.
An immensely enthralling trio - truly brilliant…"
Review: Frankfurter Rundschau, 2019
"Als Hirte kann der junge Gerard Schneider mit einem fast schon schweren Heldentenor aufwarten,
mit dem er seine meist langsam ruhigen Gesänge bis zu großer Emphase vorträgt.
As the Shepherd, the young Gerard Schneider can boast of an almost heavy heldentenor,
with which he performs his mostly slow and quiet songs to great emphasis. "
Review: Der Neue Merker, 2019
Musikalisch ist die klangmagische Vereinigung von Orient und Okzident, von Christentum und Antike ein
Triumph an der Oper Frankfurt. Mit Łukasz Goliński in der Titelrolle, Gerard Schneider als Hirte
und AJ Glueckert in der Partie des Edrisi wird ein Sängerfest gefeiert.
Musically, the Magical union of the Orient and the Occident, of Christianity and antiquity is a
triumph at the Frankfurt Opera. With Łukasz Goliński in the title role, Gerard Schneider as shepherd
and AJ Glueckert in the role of Edrisi, a Festival of Song is celebrated.
Review: Südwestrundfunk, 2019
"Gerard Schneider bringt glanz und durchsetzungskraft für die partie des Hirt…
Gerard Schneider brings radiance and decisive force to the role of the Shepherd…"
Review: Hessischer Rundfunk
Ein strahlemann, der ein wenig nach schlagerstar ausschaut und bald die Leidenschaft entfesselt. Die partiell freiliegende Maennerbrust von Gerard Schneider weist auf den bei ein verfuehrungs potential hin, das bei diesem tenor stimmlich auf jeden fall gegeben ist.
A charismatic and good-looking man who looks a bit like a pop singer and soon unleashes the passion. The partially exposed chest of Gerard Schneider points to the potential for seduction, which is definitely given by this tenor's vocal performance.
Review: Wiesbadener Kurier | Main-Spitze | Allgemeine Zeitung | Wormser Zeitung | Echo
…gleißenden Dionysos-Tenor von Gerhard Schneider und alle Ensemblemitglieder beim ersten Hören so idiomatisch sicher im polnischen Text, dass der Unterschied zum polnischen Star-Bariton-Gast Łukasz Goliński als unsicher schwankendem Roger nicht erkennbar wurde...
…the Gleaming Dionysos-tenor of Gerard Schneider and all ensemble members at first hearing so idiomatically sure in the Polish text that the difference to the Polish star-baritone guest Łukasz Goliński as uncertain wavering Roger was not recognizable…
Review: Neue Musikzeitung, 2019
"Vom polnischen Gaststar Lukasz Golinski in der Titelpartie über die grandiosen Ensemblemitglieder Sydney Mancasola als Königin Roxana bis hin zu Gerhard Schneider in der dankbaren Rolle des verführerischen, fremden Propheten bleiben bei diesen Idealbesetzungen nahezu keine Wünsche offen.
From the Polish guest star Lukasz Golinski in the title role to the grandiose ensemble members Sydney Mancasola as Queen Roxana and Gerard Schneider in the thankful role of the seductive, foreign prophet, there are almost no wishes to be fulfilled in this ideal cast."
Review: Giessener Allgemeine | Frankfuter Neue Presse, 2019
"Gerard Schneider betört als Hirte längst nicht nur mit seinen reinen, exaliterien Höhen.
Gerard Schneider beguiles as the Shepherd and not only his pure, exalted heights."
Review: Rhein-Zeitung | Offenbacher Post | Hanauer Anzeiger, 2019
"Fast noch fordernder ist die partie des gleisnerischen hirten, der die nicht nur erotischen fäden zieht.
Gerard Schneider Führte seinen wohlfokussierten tenor durch so verführerische wie bestimmende spitzenlagen
Almost more demanding is the role of the Hypocritical Shepherd, who pulls at more than just erotic threads.
Gerard Schneider led his well-focused tenor through both the seductive and commanding [prime locations]"
Review: Frankfurter Allgemeine Zeitung, 2019
Olbrzymim kontrastem staje się charyzmatyczny pasterz, w brawurowym wykonaniu austriacko-australijskiego tenora Gerarda Schneidera.
Wizualnie jego bosa postać do złudzenia przypomina enfant terrible niemieckiego filmu, Klausa Kinskego –
w białym, niedbałym garniturze, z rozchełstaną na piersiach koszulą i zmierzwioną czupryną.
"The Austrian-Australian Tenor Gerard Schneider provides great contrast in his daring portrayal of the charismatic Shepherd.
Visually, his barefoot figure is reminiscent of the enfant terrible of German film, Klaus Kinsky -
in a white, careless suit, a shirt torn open on his chest and with tousled hair."
Review: Deutsche Welle
"Gerard Schneider as the Shepherd and AJ Glueckert as Edrisi were neatly differentiated,
the interloper Golden-Toned, the advisor more angular and even petulant in his delivery"
Review: Opera Magazine, September 2019
"Gerard Schneider, ganz in Weiß, im offenen Hemd, mit wild gekrausten Haaren, barfuß,
spielt und singt den siegessicher Lächelnden Verführer mit dem tenoralen Dauerstrahlen eines Entertainers...
Gerard Schneider, all in white, in an open shirt, with wild, curly hair, and barefoot,
performs and sings as the Smiling, victory-confident seducer with the enduring tenoral radiance of an entertainer ..."
Review: Opernwelt, July 2019
"Daarnaast schittert Gerard Schneider als de Herder. Ik heb hem twee jaar geleden voor het eerst in Risurrezione gehoord. Zijn tenor is nog altijd even mooi en homogeen als hij een verleidelijke "Mój Bóg jest piekny jako ja" zingt.
In addition, Gerard Schneider shines as the Shepherd. I first heard about him two years ago in Risurrezione . His tenor is still just as beautiful and homogeneous as he sings a seductive rendition of "Mój Bóg jest peakny jako ja"
Review: GoOpera, 2019
"Die monarchistische Ordnung und Macht des Königs wird durch das Erscheinen des Hirten, einer Mischung aus Prophet, Erlöser und Dionysus, infrage gestellt. Dieser predigt von einem schönen, jungen Gott und findet sogleich eine große Anhängerschaft, darunter auch Königin Roxana.
Als einziger ganz in weiß gekleidet, mit strohblondem Haaren, sticht er aus der schwarzen Masse wie ein Lichtblitz hervor.
Der Tenor Gerard Schneider ließ den Hirten völlig unbeschwert und sorgenfrei agieren. Sein helles Timbre entsprach auch stimmlich
dem leichtem Gemüt und der hedonistischer Lebensart seiner Rolle. Man kommt in Anbetracht seiner Nähe zu Roxana und des Zwiespalts,
den er sät, nicht umhin, in ihm Parallelen zu Rasputin zu erkennen.
The Monarchistic Order and Power of the King is questioned by the appearance of the Shepherd, a mixture of prophet, savior and Dionysus.
He preaches about a beautiful, young god and immediately finds a large following, including Queen Roxana. As the only one dressed entirely in white, with straw-blond hair, he stands out from the black mass like a flash of light.
The tenor Gerard Schneider let the Shepherd act completely unburdened and carefree. His bright timbre also matched vocally
to the easy mind and the hedonistic way of life of his role. Considering his proximity to Roxana and the discord he sows,
one can not help but recognize parallels with Rasputin."
Review: Bachtrack, 2019
Der Hirte – Gerard Schneider - ist die Verkörperung des Verführers in Person. Auch der Tenor gehört zum Ensemble, ein brillanter Schauspieler.
Wer kann sich diesen Blicken (trug er besondere Kontaktlinsen?) und dem teuflichen Grinsen entziehen.
The Shepherd - Gerard Schneider - is the embodiment of the seducer in person. The tenor is also part of the ensemble, and a brilliant actor.
Who can escape these looks (did he wear special contact lenses?) and the devilish grin.
Review: Das Opernmagazin
Den charismatischen und barfüßigen Hirten im weißen Gewand (mit nur einem Knopf verschlossenen Hemd),
gibt Tenor und Ensemblemitglied Gerard Schneider mit überragender Vitalität in Stimme und Gestus.
The charismatic and barefoot shepherd in white garments (shirt closed with only one button),
is performed by Tenor and Ensemble member Gerard Schneider with outstanding vitality in both voice and gesture.
Review: Kulturfreak
"Mit klaren hellen Tönen – keck und sinnlich – verführt der Hirte (Ensemblemitglied Gerard Schneider ) die Königin Roxana
und letztlich auch König Roger, der ihm zwar nicht folgt, sich aber ändert.
With clear bright tones - bold and sensual - the Shepherd (ensemble member Gerard Schneider) seduces the Queen Roxana
and ultimately also King Roger, who does not follow him, but is left changed."
Review: Feuilleton Frankfurt, 2019
"Gerard Schneider verleiht dem Hirten trotz unklarer Funktion die unverzichtbare Faszination, erinnert mit dem weißblondierten Schopf und der Dauerfröhlichkeit manchmal an Tom Hulces „Amadeus“ – die durch weiße Kontaktlinsen verursachten Schlangenaugen weisen dann aber in eine andere Richtung. Vokal ist der Hirte/Dionysos schwer zu besetzen, die Stimme sollte schön, strahlend, jugendlich sein und doch reif genug, um gegen Szymanowskis Orchester zu bestehen – Schneider erfüllt davon beglückend viel.
"Gerard Schneider gives the shepherd - despite indefinite function - an indispensable fascination, reminiscent of the white-blond hair and perpetual happiness of Tom Hulce's" Amadeus "- but the snake eyes caused by white contact lenses point in a different direction.Vocally the Shepherd / Dionysus is very difficult - the voice must be beautiful, radiant, youthful and yet mature enough to stand up to Szymanowski's orchestra - Schneider satisfies this greatly."
Review: Opera Lounge
Der verführerischen Rolle des Hirten gibt Gerard Schneider (ebenfalls Ensemblemitglied in Frankfurt) beeindruckend Profil. Und seine lyrischen Gesangslinien singt Schneider entsprechend seiner Rolle als erotischer Verführer mit betörend intensiver Sinnlichkeit…
In the seductive role of the Shepherd, Gerard Schneider (also a member of the ensemble in Frankfurt) gave an impressive portrayal. Schneider sings his lyrical vocal lines according to his role as the erotic seducer with beguiling and intense sensuality…
Review: Online Musik Magazin
"Gerhard Schneiders Hirte verführte Bühnenvolk und Publikum gleichermaßen mit seinem lichten Tenortimbre, das vom intim-schwelgenden Ausdruck im Ersten Akt über Orientalismen im Zweiten bis hin zu Tatraklängen (Podhale-Musik) im letzten Akt changiert.
Gerhard Schneider's shepherd seduced those on stage and audiences alike with his light tenor timbre, which changes from the intimate, indulgent expression in the first act to Orientalism in the second to the sounds of the Tatra mountains (the Music of Podhale) in the final act."
Review: Dialog Forum
"Gerard Schneider als Hirte (österreichisch-australischer Tenor und Rollendebütant),glänzte nicht nur mit einem höchst lyrischen und verführerischen Tenor, sondern auch mit verblüffend einnehmender Persönlichkeit. Immer ein wissendes Lächeln auf den Lippen, verstand er es, das Volk, Roxana, wie auch das Publikum auf seine Seite zu ziehen. Behende und geschmeidig näherte er sich den Personen und verkörperte auf der ganzen Linie Freiheit und Sinnenlust mit homoerotischen Zügen. Alle Frauen verfallen seinem Charme und seiner Ausstrahlung. Auch Roxana, die sich von ihrem Gatten abwendet und ein erotisches Liebesspiel mit ihm auf dem Spiegeltisch treibt, gehört dazu.
Gerard Schneider as the Shepherd ( Austrian-Australian tenor and role debutant), shone not only with a highly lyrical and seductive tenor, but also with a stunning and engaging personality. Always with a knowing smile on his face, he knew how to draw the people, Roxana, as well as the audience to his side. Agile and supple, he approached the people and entirely embodied liberty and sensual pleasure with homoerotic features. All women fall to his charm and charisma. Even Roxana, who turns away from her husband and is driven to erotic lovemaking with the Shepherd on the mirror table, is one of them."
Review: H. Boscaiolo
"Der in Frankfurt debütierende polnische Bassbariton Łukasz Goliński wurde als König Roger ebenso gefeiertwie die glänzenden Ensemblemitglied
Gerard Schneider in der Rolle des Hirten, 'dessen prophetische Popstar-Erscheinung Erath auch mit dionysisch-diabolischen Züge ausgestaltet hatte.
The debut Polish bass-baritone Łukasz Goliński, who debuted in Frankfurt, was celebrated as King Roger as well as the brilliant ensemble member
Gerard Schneider in the role of the shepherd, whose prophetic popstar appearance Erath had also designed with Dionysian-diabolical features."
Review: Musik Heute
Interview: Singen im Kostüm reicht nicht
|
»Oper darf nicht Singen im Kostüm sein. Warum schwirren diese Ideen immer noch in manchen Köpfen herum? Nein-Sager sind der Tod des Musiktheaters! Ich wünsche mir Austausch mit anderen Kunstformen« |
'La Boheme' at Komische Oper berlin
Trailer: Komische Oper's La Boheme
"Dabei war es eine große Freude zu erleben, wie gut die Auswahl der Protagonisten hinsichtlich Erscheinung und Stimme, bzw. künstlerischer Entwicklung, gelang. [Schneider's] strahlendes, stark durch die Mittellage geprägtes Organ öffnete sich im Laufe des Abends auch im oberen Bereich immer stärker. "
"It was a great pleasure to see how well the this cast of protagonists in terms of appearance, voice, and artistic development, succeeded. [Schneider's] radiant instrument, characterized strongly through the middle register, opened throughout the evening ever and ever stronger. "
Review: Opera-Online, 2019
"...Her Rodolfo, Gerard Schneider, was well attuned to her, their Act I Duo was beautifully phrased."
Review: Opera Magazine,
"Schon wie er seine erste Arie behutsam angeht und ganz unverkrampft aus dem Text entwickelt, ehe die Stimme dann zu leuchten beginnt: Da stellt sich sofort das „So-muss-das-klingen“-Gefühl ein – es hält den ganzen Abend an. "
"Already in the carefully considered approach to his first aria he develops the lyrics in a relaxed manner ere the voice begins to shine: the
"That's how it must sound" feeling immediately sets in - and lasts the entire evening. "
Review: Capriccio-Kultur Forum, 2019
"Gerard Schneider mit volumigen Tenor als Rodolfo..."
Gesanglich und darstellerisch, dazu gut aussehend und mit prächtigem Tenor, erweist sich Schneider als rollendeckender Rodolfo..."
"Gerard Schneider with voluminous tenor as Rodolfo ..."
"Vocally and dramatically, in addition to good-looking and with a magnificent tenor, Schneider turns out to be a complete Rodolfo ... "
Review: Online Merker, 2019
"In der besuchten Vorstellung (3.2) war Gerard Schneider als lichter, frischer und lyrischer Rodolfo zu hören..."
"In the performance attended (3.2) Gerard Schneider was heard as a clear, fresh and lyrical Rodolfo ..."
Review: Frankfurter Rundschau, 2019
'Rusalka' at Oper Frankfurt
"Der australische Tenor Gerard Schneider aber war in der Rolle des Prinzen zum ersten Mal zu erleben – stimmlich die passende Ergänzung zur zarten Rusalka..."
Review: Frankfurter Neue Presse, 2018
"In der Rolle des Prinzen stellt sich das neue Ensemblemitglied Gerard Schneider vor. Der junge Tenor verfügt über eine elegante und höhensichere Stimme
mit tadelloser Registerverblendung. Zu Dvořák paßt sie großartig, und man überlegt sofort, in welchen Rollen man den Sänger gerne erleben würde.
Das französische Repertoire wäre sicher perfekt, Mozart würde passen, aber auch italienischer Belcanto. Hoffentlich bleibt er dem Haus lange genug erhalten,
um die Möglichkeiten auszumessen, die sich nach diesem überzeugenden Debüt auftun..."
Review: Der Opernfruend, 2018
The 29th bard music Festival
"Marfa, the daughter of a Boyar, is desired by every man who sees her. Her choice is Lykov, sung by tenor Gerard Schneider.
The beauty of his voice is deserving of love..."
The Tsar's Bride, Review: Berkshire Fine Arts, 2018
"Gerard Schneider’s voice has an intense timbre typical of Russian tenors, which lent his Mozart an idiomatic sound,
and Schneider agreeably projected the Austrian composer’s good nature. "
"Gerard Schneider, who previously sang Mozart, scored another success with Likov..."
Mozart and Salieri, and Tsars Bride, Review: New Criterion, 2018
"The standout stars were the tenor Gerard Schneider and the mezzo Nadezhda Babintseva"
Legacy of Pushkin, Review: New York Times, 2018
'Thaïs' at Minnesota Opera
Trailer: Minnesota Opera's Thaïs
" But the most memorable portrayal of the evening was Gerard Schneider’s wonderfully Gallic Nicias, brimming with finesse and joie de vivre.
The Australian-born tenor, in an auspicious company debut, offered the perfect antidote to Athanaël’s dour lessons in anhedonia;
one felt the audience relax—and then smile--en masse..."
Review: Opera News, 2018
"Gerard Schneider provided a colorful foil to Meachem as the sybaritic Nicias in his Minnesota Opera debut. Ardent and irreverent where Meachem was straight-laced and sober, Schneider’s ringing tenor made a sharp impression."
Review: Star Tribune, 2018
"Tenor Gérard Schneider played the foil brilliantly, convincingly portraying the sybarite Nicias in way that made you want to forget all about the
spiritual and succumb to the pleasures of easy living. Moreover, Schneider managed to make us really care about the character
– something that isn’t particularly easy with this role."
Review: Bachtrack, 2018
"Austrian tenor Gerard Schneider plays the dissolute satrap Nicias, whose over-the-top scenes
are the opposite of the sexual repression of the conflicted Athanaël.
Nicias’ Alexandria is the embodiment of sensual excess and wild abandon, and Schneider’s smartly sung Nicias is wholly comfortable in being the leader of an orgiastic following. In addition to his strong vocal performance, Schneider proved to be a commendable dancer as well,
briefly joining the dance troupe in a section of the opera’s second act ballet."
Review: Opera Warhorses, 2018
"I would like to go to many parties hosted by Nicias (played wonderfully by the tenor Gerard Schneider), decorated by Lorenzo Cutùli
and lit by Marcus Dilliard. They out-Gastby’d the Gatsby in that scene."
Review: Twin Cities Arts Reader, 2018
"Also worth noting is Austrian-Australian tenor Gerard Schneider’s last-minute performance of Nicias. That’s right - filling in at the eleventh hour (rehearsals began on twelfth of April with a call going out to Schneider on the sixth before) for John Robert Lindsey, Schneider - who makes no mention of having sung the role before in his published biography - delivered a most fun and engaging performance!
I was quite pleased to give a more robust ovation at the end as he entered the stage to receive his much-deserved adulation. What a voice! As much as I enjoyed listening to tenor Joshua Dennis sing the role of the Duke in this season’s performance of Rigoletto, a dear friend of mine made me wonder what it would have been like to have heard Schneider in the role. Again, what a voice!"
Review: Life in Revue, 2018
'LA Straniera' at Washington Concert Opera
Highlights: Washington Concert Opera 2017 (La Straniera begins at 1:35)
"Happily, WCO’s performance was the best, aided especially by tenor Gerard Schneider as Arturo, fresh from Wexford. As there (both in recital and in the lead of Risurrezione), he was wonderfully articulate with Bellini’s radically syllabic text and exhibited impressive legato phrasing in Bellini’s numerous arioso passages, with moments of exquisite mezzo-voce as well as full fortissimo..."
Review: Opera con Brio, 2017
"As Arturo, the tenor Gerard Schneider won me over with his soft, tender mezza voce (Some might call it crooning , but let's not quibble), which he employed to a keenly exxpressive effect, giving the character of Alaide's doomed suitor added dimension."
Review: Opera Magazine, April 2018
'Risurrezione' at the Wexford Opera Festival
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Preview: Behind the Scenes at Wexford Opera Festival, Irish Times, 2017
"Prince Dimitri, played by the Australian tenor, Gerard Schneider also put in a strong performance. He has a sweet sounding tenor, with strong upper register. His essaying of the role perfectly matched Duprels’ Katiusha. His acting and expressive singing convincingly characterizing the arrogance of the aristocrat in the first act, and then his remorse in act three.
His final duet with Duprels, in which they sing of their love for each other, followed by the chorus welcoming Christ’s rebirth, brought the drama to a wonderful conclusion, in which Katiusha and Dimitri are redeemed by each other’s love"
Review: Operawire, 2017
"The cast were all very good, with tenor Gerard Schneider (Dimitri) strongly leading it. He executed equally radiantly
the highest pitches and the pianissimos, with an extremely alluring and delectable timbre. "
Review: Bachtrack, 2017
"It seemed fitting when tenor Gerard Schneider first entered, debonair in boots, breeches and blue frock-coat, looking unnervingly like a cross between Terence Stamp’s Sergeant Troy and Leigh Lawson’s Alec Stokes-d’Urberville!
Schneider sang with honeyed warmth - in fact, so beautiful was his tone that at times it was difficult to remember that Dimitri has behaved with selfish, reckless irresponsibility. Perhaps that’s the point: Schneider just about pulled off the difficult task of making us feel some sympathy for the abusing aristocrat; after all, as he says when he finds Katiusha in prison, debauched, degenerated, utterly ‘spoiled’, it is his Calvary that begins here too."
Review: Opera Today, 2017
[Anne Sophie Duprels] was admirably matched by Schneider, a keenly observant singer who is also a Juilliard-trained actor.
Review: Opera News, 2017
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The singing was almost uniformly good, but especially that of Australian tenor Gerard Schneider as Dimitri, looking just like Omar Sharif in Dr. Zhivago... |
“Ihr zur Seite überzeugt in ebensolcher Hochform Gerard Schneider als Prinz. Der Tenor verfügt über unbekümmerte und scheinbar grenzenlose stimmliche Strahlkraft und einen ungezwungenen jugendlichen Auftritt, der der Entwicklung der Rolle große Überzeugung verleiht.”
“At her side, just as convincing and in top form, was Gerard Schneider as the prince. The Tenor was carefree, had seemingly limitless vocal radiance and a casual youthful appearance, which gave the development of the role great conviction.
Review: Opera-Online, 2017
"Son grand amour, le prince Dimitri, avait la fougue et le ténor ardent de Gerard Schneider, aussi convaincant comme
homme d’honneur qui veut réparer sa faute. "
"Her great love, Prince Dimitri, had the fire and ardent tenor of Gerard Schneider; convincing as a man of honor
who wants to repair his fault."
Review: Crescendo Magazine, 2017
Singing with force and vigour, Australian tenor Gerard Schneider delivers a memorable account of Dimitri, the prince
whose carelessly cruel act precipitates Katiusha’s disastrous fall but who belatedly attempts to make amends.
Review: The Stage, 2017
"De rol van Dimitri werd gezongen door de tenor Gerard Schneider. Hij heeft een onwaarschijnlijk mooie stem. Zijn warme lyriek kwam mooi tot uiting in de liefdesverklaring "E non temere, o dolce mia fanciulla". Tot in de hoogste regionen behoudt zijn stem die natuurlijke warmte, inclusief een prachtig mezza voce. Een wonderbaarlijke tenor om in de gaten te houden..."
The role of Dimitri was sung by Gerard Schneider. He has an inconceivably beautiful voice. His warm lyricism came beautifully to expression in the declaration of love "E non temere, o dolce mia fanciulla...' Up to the highest regions his voice retains that natural warmth, including a beautiful mezza voce. A miraculous tenor to keep your eye on...
Review: GoOpera, 2017
“Der Wexforder Erfolg verdankt sich nicht nur der Überzeugung, mit der Francesco Cilluffo das Orchester detailmalerisch durch die seelenvolle veristische Partitur führte, sondern auch der dramatischen Kraft von Anne Sophie Duprels in der Partie der durch den Schmutz des Lebens geschleiften Katjuscha. Geschwängert und sitzengelassen von ihrer großen Liebe, dem von Gerhard Schneider mit warmem, baritonal gefärbtem Tenor gesungenen Fürsten Dimitri, fällt sie von Unschuld in Verderbtheit, von der Prostitution in die Zwangsarbeit. In der sibirischen Verbannung, wohin ihr der reuige Fürst folgt und um ihre Hand anhält, findet das Paar durch Entsagung Läuterung. “
Alle Augen und Ohren waren im Voraus auf „Medea“ gerichtet. „Risurezzione“ hat ihr jedoch die Schau gestohlen."
"The Wexford success owes not only to the conviction with which Francesco Cilluffo led the orchestra in detail through the soulful veristic score, but also to the dramatic power of Anne Sophie Duprels in the role of Katyusha dragged through the filth of life. Tortured and abandoned by her great love, Prince Dimitri, sung by Gerhard Schneider with a warm, baritonal tenor, she falls from innocence to depravity, from prostitution to forced labor. In Siberian exile, where the repentant prince follows her and stops for her hand, the couple finds purification through renunciation.
All eyes and ears were focused on "Medea" in advance. However, "Risurezzione" has stolen her the show.”
Review: Frankfurter Allgemeine, 2017
“Situazione felicissima e ideale per i due giovani protagonisti, chiamati a dar voce e corpo ai due unici personaggi ben definiti che emergono da un manipolo di seconde parti e una miriade di caratteristi: l’aristocratico Dimitri, che Gerard Schneider ha reso al meglio con la sua solare voce da tenore lirico, senza mai indulgere a pericolosi e inopportuni affondi veristici…”
“[This production], most fortunate and ideal for the two protagonists, gave voice and body to the only two well defined characters that emerge over a handful of secondary roles and a myriad of character actors: the aristocratic Dimitri, that Gerard Schneider embodied best with his radiant Lyric Tenor voice, never indulged in dangerous and inappropriate Veristic effects…”
Review: Giornale della Musica, 2017
"The impact of Alfano's 1904 opera Risurrezione at Wexford last night brought the audience to their feet, and the prolonged applause and cheering said it all - the audience had been captured by a mixture of an extremely effective piece and stunning performances all round, especially from the two people pictured above (Gerard Schneider, and Anne Sophie Duprels)
This production is said to be going to Monte Carlo so if you can't get to Wexford in the next two weeks the Côte d'Azur is not such a bad alternative in due course! But they had better get Duprels and Schneider - they really made it work. "
Review: Instant Encore, 2017
"Gerard Schneider, ein Tenor von beachtlicher Ausstrahlung, macht aus Dimitri einerseits den unwiderstehlichen Verführer
und andererseits den ehrlich bereuenden Mann, der Erlösung in der Religion findet..."
"Gerard Schneider, a tenor of remarkable charisma, makes Dimitri on one hand the irresistible seducer and on the other,
the honestly repenting man who finds salvation in religion..."
Review: Kieler Nachrichten, 2017
Tenor Gerard Schneider gave life to Prince Dimitri and was well suited and convincing. He’s a very expressive singer, and was especially exciting in the final two acts, particularly in the scene with Katiusha in Act III.
Review: Seen and Heard International, 2017
Full marks to Anne Sophie Duprels, a marvellously resourceful singing actress who gives her all to the character
of the seduced maiden turned whore, and Gerard Schneider as her penitent seducer.
Review: The Telegraph, 2017
The focus is very much on Dmitri and Katiusha for most of Act I, much of Act II, the latter part of Act III
and all of Act IV. Considering the challenging nature of their characters' predicaments,
that places a lot of pressure on Gerard Schneider and Anne Sophie Duprels, but both take their parts
exceptionally well, remaining strong and consistently lyrical throughout.
Review: Opera Journal, 2017
Tegenover Duprels stond tenor Gerard Schneider, die zich net zo goed raad wist met zijn partij.
Zijn stemgeluid was heerlijk Italiaans, met lekker veel squillo"
"Opposite Duprel stood tenor Gerard Schneider, who handled his role just as well.
He has a lovely Italianate voice with a delicious amount of squillo."
Review: Place de L'Opera , 2017
"Gerard Schneider stattet den Prinzen Dimitri mit kräftigem Tenor und sauberen Höhen aus, entwickelt sich aber erst ab dem dritten Akt zu einem positiven Charakter, wenn er Verantwortung für das Unglück übernimmt, in das sein Verhalten Katiusha gestürzt hat. Nach den leichtfertigen Liebesschwüren im ersten Akt bekommt das Duett im dritten Akt musikalisch eine gewisse Tiefe, die von Schneider und Duprels bewegend umgesetzt wird"
"Gerard Schneider equips Prince Dimitri with a powerful tenor and crisp high notes, and develops in the third act in to a positive character, when he takes responsibility for the disaster into which his behavior has plunged Katiusha. After the frivolous love-vows of the first act, the music gains a certain depth in the third act, which is propelled by Schneider and Duprels."
Review: Online Musik Magazin, 2017
"Haar grote liefde, prins Dimitri, had de onstuimigheid en de gepassioneerde tenor van Gerard Schneider, even overtuigend als de berouwvolle man die probeert eervol te handelen maar door Katiusha afgewezen wordt."
"Her great love, Prince Dimitri, had the impetus and passionate tenor of Gerard Schneider, convincing as the repentant man who tries to act honorably but is rejected by Katiusha."
Review: Klassiek Centraal, 2017
"Prince Dimitri was sung by the outstanding young Australian tenor, Gerard Schneider, who has a wonderfully elegant
and deep tenor sound of real substance."
Review: Opera Spy, 2017
"Gerard Schneider’s Dimitri is very fine too. He has a good, solid voice and his characterization was spot-on."
Review: Operalounge, 2017
VOCAL RECITAL AT THE WEXFORD OPERA FESTIVAL
On November 4, tenor Gerard Schneider gave the most thoughtfully programmed recital that I heard this season at Wexford. A native of East Melbourne, Australia, Schneider has one of the most beautifully produced and attractive male voices I’ve heard in some time. He has a solid core to his voice and his high, soft singing is mesmerizing. He also seems incapable of uttering a gauche or unmusical phrase. He opened his program with “Im wunderschõnen Monat Mai,” “Aus meinen Tränen spriessen” and “Ich grolle nicht” from Schumann’s Dichterliebe, sung with a masterly textual sensitivity. He scored a triumph with Vaughan Williams’s “Silent Noon” and the aria “Horse Hoofs, Horse Hoofs” from Hugh the Drover, which he announced as a work about “freedom and loneliness on the road—something an opera singer feels quite strongly.” His pianist, Andrea Grant, the festival’s Head of Music/Répétiteur, gave the most searching and complete accompaniment to this aria I have ever heard. In both Liszt’s “Im Rhein, im schönen Strome” and Ben Moore’s lyrical “His Heart That Flutters,” Schneider showed off his gift for lifting easily into his gorgeous upper range.
Review: Brian Kellow, 2017
'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
"The work’s three tenor parts were uncommonly well served, with excellent diction. Gerard Schneider proved a near-ideal Boris, with warm, ardent sound."
Review: Opera News, July 2017
"El tenor Gerard Schneider, encargado del papel de Boris, el amante de Kabanova, mostró buenos medios de tenor lírico, y su interpretación fue creciendo desde una discreta entrada, a unas vehementes escenas con Katia en los actos segundo y tercero."
"Tenor Gerard Schneider, charged with the role of Boris, the lover of Kabanova, showed good means with his lyric tenor voice; his interpretation growing from a discreet entrance, to some vehement scenes with Katya in the acts second and third.
Review: Codalario, 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
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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
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"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...)
Drehpunktkultur, 2014
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
L'Enfant Prodigue
"Gérard Schneider (Azaël, the prodigal son) all conveyed despair, hope, repentance and joy with moving musicality"
BachTrack, 2013
"...(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..."
Capriccio, 2013
Owen Wingrave
"...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..."
Bachtrack, 2013
"...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..."
Capriccio, 2013
Australian Singing Competition
"...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.."
Crikey, 2011