“… Luca Francesconi’s opera…featured bravura performances by Heather Buck and Hadleigh Adams and was the thrilling highlight of the company’s summer season… German-Canadian tenor Schade… gave a lustrous performance featuring Romantic works made famous in the 1920s by Irish tenor John McCormack and violinist Fritz Kreisler… …an outstanding team of vocal soloists – soprano Camille […]
“Dramatically engaging, Schade sang the 16th-century Sonnet for strings and cembalo accompaniment with crystal-clean intonation and an even, forward-placed legato.” — Read more at OperWire.
“The moment opened a brief window onto the kind of meltingly expressive repertoire that once held the stage and delighted countless listeners — and that did so again on this occasion.” — Read more at SF Gate
“It was a treat to have Canada’s European-based Michael Schade in the tenor role. Overall, the tenor has the most to sing and also has the most expressive music. Vocally, Schade was in his natural element here, his focused tenor voice and thorough understanding of German oratorio style evident at every turn. The final duet […]
Both the concreteness and the suggestive power of Schade’s rendition were unique – the experienced opera singer did not tell a story, but rather, he viscerally experienced the continuous changes between rough reality and remembered, dreamed-up, fragile happiness, with a wounded heart and versatile facial expression. — Read more at Der Standard. Translations: Alexa Nieschlag […]
“Not only does he derive his rendition of text from the eloquence of individual words, accordingly accentuated, but he also develops the characteristic musical tone of the songs from them, completely naturally. This results in an interpretation which is equally profound and differentiated, providing new insights rich in nuance, while mercilessly showcasing the subject of […]
“Michael Schade’s sweet, plangent tone made the most of the tenor’s solo moments in the sun.” — Chicago Classical Review “The conductor also had an excellent team of soloists…among whom Schade stood out for the strength of his “Sanctus,” ” — The Chicago Tribune