May 2023
"In his Met debut, baritone Thomas Oliemans brought seductive singing and fine comic flair to the role of Papageno, offering the most impressive performance of the evening. His highly rhythmic vocal line, perfectly judged diction, and tonal precision were especially notable in his entrance aria, “Der Vogelfänger bin ich ja”, and his big scene prior to meeting Papagena was a thoroughly engaging showstopper."
bachtrack.com, W.A. Mozart, Die Zauberflöte - Metropolitan Opera New York
May 2023
"Thomas Oliemans, with his cheery air, adorable stubbornness and rambunctious [...] baritone, was a singular Papageno."
nytimes.com, W.A. Mozart, Die Zauberflöte - Metropolitan Opera New York
May 2023
"No one is going to replicate the performance that baritone Thomas Oliemans gave on that opening night.[...] Brimming with energy from the off, with his opulent baritone, he provided the most arresting portrayal on the whole night. His voice always had a calm and collected demeanor with a roundness that resonated fully in the Met’s auditorium. [...] Oliemans managed clarity of sound and diction with great precision. [...] In spoken sections, he was king, coming through with tonal clarity in every moment that added to the humor.[...] Pacing in opera is so challenging.[...] But when the actor on hand has such an innate sense of timing,[...], as is the case with Oliemans, the result is thrilling and engaging."
operawire.com, W.A. Mozart, Die Zauberflöte - Metropolitan Opera New York
May 2023
"This bird-catcher, Thomas Oliemans,[...] was the star of the show."
newyorkclassicalreview.com, W.A. Mozart, Die Zauberflöte - Metropolitan Opera New York
May 2023
"[...] baritone Thomas Oliemans was just plain wonderful as Papageno, from his entrance with the delightful "Der Vogelfänger bin ich ja" ("The bird catcher--that's me") till his discovery of his soul-mate, Papagena [...]."
broadwayworld.com, W.A. Mozart, Die Zauberflöte - Metropolitan Opera New York
March 2023
"Souvent sollicité dans les extraits choisis, le baryton Thomas Oliemans prend le temps de patiner son timbre et sa déclamation lors des récitatifs, de les rendre bien chantants, avec un vibrato crénelé[...]. Il s’auréole bien vite de paternité vocale, empruntant au basson son timbre chaud et insistant, ombrageux, autoritaire, ardent, toujours capable d’entraîner le collectif choral."
olyrix.com, F. Mendelssohn, Walpurgisnacht - Festival Printemps des Arts de Monte-Carlo (Choer Accentus, Insula, L Equilbey)
November 2022
"Most impressive, however, is the Dutch Thomas Oliemans, who manages to create a Papageno for our time [...]. Oliemans is simply a brilliant singer-actor with impeccable comic timing."
norway.postsen.com, W.A.Mozart, Die Zauberflöte - Bergen National Opera
September 2022
"Thomas Oliemans [...] did not use the techniques of pandering to the audience with exaggerated pathos or affectation of his voice, but his speech impressed with its decency, and at the same time intelligibility, excellent declamation of the German text of the songs, a very colorful voice and an overall natural expression using rather lower dynamic positions."
KlasikaPlus.cz, G. Mahler, Des Knaben Wunderhorn - Pilsen Philharmonic Orchestra
September 2022
"Excellents aussi ses acolytes [...] singulièrement le Sparbüchsen Bill du baryton Thomas Oliemans dont la voix belle chaleureuse dément la mesquinerie du personnage."
L'Avant-Scène Opera, K.Weill, Aufstieg und Fall der Stadt Mahagonny - Vlaamse Opera
March 2022
"Na de pauze brengt een schip de personages over de rand van het bestaan en schitteren Thomas Oliemans en Katia Ledoux in de rollen van Pluto en zijn vrouw Proserpina."
"After intermission, a ship takes the characters over the edge of existence and Thomas Oliemans and Katia Ledoux shine in the roles of Pluto and his wife Proserpina."
theaterkrant.nl, M.Trojahn, Eurycice - Die Liebenden, blind - De Nationale Opera Amsterdam (WP)
November 2021
"Oliemans excelled in the four vocal parts, each with its own signature, in which he showed a multitude of colors and even used his falsetto. In the end, with a lyrical, light touch, a distorted echo of Mozart’s ‘Lacrimosa’ resounded."
pledgetimes.com, H.Tawfiq, Requiem des Fleurs et des Nuages - November Music (Philharmonie Zuidnederland, E. Spanjaard)
July 2021
"He sat at the piano and launched into Sous le ciel de Paris [...]A couple of bars into the song you forgot that you were listening to Thomas Oliemans, operatic baritone and Lieder interpreter. Thomas Oliemans the chanson singer (and pianist) is that good.[...]Oliemans pinned his broken heart on his sleeve, utterly sincere but never saccharine. With his crisp diction and carrying power, he had no problem being heard over the layered richness of the strings."
bachtrack.com, Recital, Formidable (French Chansons, Amsterdam Sinfonietta; Concertgebouw Amsterdam)
July 2021
"[...] bleibt der Chor ein neutraler, aber unerbittlicher Beobachter, dem der eindringliche Bariton Thomas Oliemans [...] gegenübertritt."
nzz.ch, S.Odeh-Tamimi, L’Apocalypse Arabe - Festival d'Aix-en-Provence (Ensemble Moderne, I.Volkov; Pierre Audi)
July 2021
"[...] como el Testigo de Thomas Oliemans, de una intensidad impactante, también cuando pasaba al registro de falsete."
"[...] wie Le Témoin von Thomas Oliemans, von schockierender Intensität, auch als er ins Falsett Register wechselte."
operaactual.com, S.Odeh-Tamimi, L’Apocalypse Arabe - Festival d'Aix-en-Provence (Ensemble Moderne, I.Volkov; Pierre Audi)
July 2021
"Le baryton néerlandais Thomas Oliemans incarne un Témoin habité, dans l’agonie physique et la magnificence de la diction. Il inculque une substance monumentale à ce texte non-linéaire et descriptif, la voix gorgée d’insurrection et de soutien fort de graves interstitiels jusqu’à une puissante voix de tête. La prosodie décolle du papier avec une aisance déconcertante pour se propager dans les volumes de la Grande Halle, à travers les hauts-parleurs."
opera-online.com, S.Odeh-Tamimi, L’Apocalypse Arabe - Festival d'Aix-en-Provence (Ensemble Moderne, I.Volkov; Pierre Audi)
February 2021
" [...] in Berlin we heard a new version that mostly keeps to Müller's original German text. This[...] gave the evening great immediacy, particularly given the vivid diction evinced by Mojca Erdmann and Thomas Oliemans in the piece's two roles.[...]thanks to Erdmann's and Olieman's outstanding vocal prowess and unconditional histrionic engagements, Müller's drama[...] packed an enormous punch."
Opera Magazine, L. Francesconi, Quartett - Staatsoper Unter den Linden (D. Barenboim)
October 2020
"Thomas Oliemans [...] gilt als einer der derzeit besten Sänger im Baritonfach, singt an diesem Abend von wunderbar lyrisch bis dramatisch und überzeugt mit jedem Ton."
operagazet.com, L.Francesconi, Quartett - Staatsoper Unter den Linden (D. Barenboim)
October 2020
"[...] Mojca Erdmann und Thomas Oliemans, die [...] das Beste aus den konditionell wie technisch enorm fordernden Vorgaben Francesconis und der [...] Inszenierung machten. [...] Dem Bariton gelingen dabei Momente sarkastisch-intellektueller Selbstironie, die angerauhte Prägnanz seiner [...] Stimme hat einen eigenen Reiz."
faz.net, L.Francesconi, Quartett - Staatsoper Unter den Linden (D. Barenboim)
February 2020
"[...] an unpleasant exchange with her master Keikobad’s Messenger, in this case, baritone Thomas Oliemans exuding menacing authority."
bachtrack.com, R.Strauss, Frau ohne Schatten - De Doelen (Rotterdam Philharmonic, Y. Nézet-Séguin)
February 2020
"[...] Thomas Oliemans als Geisterbote mit bedrohlich auftrumpfendem Bariton [...]."
Online Musik Magazin, R.Strauss, Frau ohne Schatten - Konzerthaus Dortmund (Rotterdam Philharmonic, Y. Nézet-Séguin)
February 2020
"Thomas Olimans ne manque pas de charisme pour les interventions du messager de Keikobad [...]."
resmusica.com, R.Strauss, Frau ohne Schatten - Théâtre des Champs-Elysées (Rotterdam Philharmonic, Y. Nézet-Séguin)
February 2020
"Les autres rôles [...] sont habilement tenus, en particulier Le Messager de Keikobad du baryton héroïque Thomas Oliemans [...]."
on.mag.fr, R.Strauss, Frau ohne Schatten - Théâtre des Champs-Elysées (Rotterdam Philharmonic, Y. Nézet-Séguin)
February 2020
"Les seconds rôles sont pleinement convaincants[...] du Messager de Thomas Oliemans autoritaire et mordant [...]."
forumopera.com, R. Strauss, Frau ohne Schatten - Théâtre des Champs-Élysées (Rotterdams Philharmonisch Orkest, Y. Nézet-Séguin)
December 2019
"The programme opened with [...] Dichterliebe [...] Thoughtful tempos and dynamics illuminated the cycle throughout; Oliemans vocal gifts and hand gestures, unencumbered by music, made for an impressively direct emotional attack. The poems of bitter despair were particularly effective: ‘Ich grolle nicht’ was a dramatic tour de force. Subtlety and humour were not lacking either. The changes of mood between ‘Das ist ein Flöten und Geigen’, ‘Hör ich das Liedchen klingen’ and ‘Ein Jüngling liebt ein Mädchen’ were carried off with stunning virtuosity. Heine’s dream like poetry of elation and despair was conveyed in shaded understanding."
"[...]second half of the recital [...] An interesting selection of songs by [...] Niels Gade [...] and six of the Lieder from Brahms’s medieval romance Die schöne Magelone. [...] Oliemans communicated the introspection of the lyrics with vocal beauty and authenticity. His gift for storytelling was seen at its best in ‘Wie schnell verschwindet’ and ‘Treue Liebe dauert lange’, which confirmed the immortality of true love in ecstatic style."
classicalsource.com, Recital, Wigmore Hall London : Schumann, Gade, Brahms
October 2019
"[...] ist Oliemans’ Interpretation ein Psychogramm, das hauptsächlich durch die Färbung der Stimme zustande kommt. Seine helle Baritonstimme eignet sich vorzüglich, zumal er die Kopfstimme sehr effektvoll einsetzen kann. Helle, zarte Töne voller Verzweiflung, stehen sehr oft direkt rauen, nahezu heiseren Klänge gegenüber, die die Verbitterung, um nicht zu sagen den Ekel ausdrücken, weil der junge Mann auf seinem langen Weg sich seiner selbst immer überdrüssiger wird. Liebliche Flashbacks sind selten, aber wirkungsvoll, die Hoffnungslosigkeit wird dadurch aber nur noch packender, umso mehr als Paolo Giacometti am Klavier ein gewichtiges Wort mitzureden hat in dieser emotionalen Gestaltung."
pizzicato.lu, F.Schubert, Winterreise (CD)
October 2019
"Oliemans’s German is so very easy to follow, his poise and presence outstanding.[...] Oliemans sings with great maturity, his expressive tone is admirable, and he captures the creative imagination of Schubert’s songs and those by Brahms which followed [...] Oliemans expresses himself so very well in a Russian way when he needs to be deadly serious, at other times – the dance-like song ‘Trepak’ – his warm voice is impressive; he is an extraordinary talent."
seenandheard-international.com, Recital, Brahms/Schubert/Mussorgsky - Oxford Lieder Festival (M.Martineau)
October 2019
"[...] Oliemans has a dark, rich voice with a lovely lower register, and in 'Fahrt zum Hades' he showed this off with a lovely unfolding of the classical line, supported by Martineau's nervous piano.
Der Zwerg is a curious piece of Gothic horror, but Oliemans brought a fine range of colours to the words and articulated the changes of mood and character, so we had moments of vivid drama and an edge of the seat ending.
The first song 'Denn es gehet dem Menschen' was full of dark colours in both voice and piano [...] with Oliemans giving us a strong lyric line, though there were vividly dramatic outburst with some fabulous piano playing from Martineau. [...]Oliemans and Martineau's performance of this fabulous song cycle had a directness and uncompromising sense about it.
Next came a stunning change of mood, with the understated art of Gabriel Faure. Oliemans and Martineau were beautifully supple in 'Dans la foret de Septembre', whilst in 'L'Absent' Oliemans almost caressed the line, and both performers created a subtle atmosphere which turned darker and more intense [...]."
planethugill.com, Recital 'Songs and Dances of Death' - Oxford Lieder Festival
October 2019
"Thomas Oliemans, a house favourite since his celebrated performance as Papageno, gives a vivid portrayal as Don Alfonso. His handsome baritone is too healthily produced for the quavering philosopher of the original story but suits the character of the summer camp supervisor perfectly. This Don Alfonso is more mischievous than cynical and one feels all along he finds it tough not to give the game away by bursting into laughter."
bachtrack.com, W.A. Mozart, Cosi fan tutte - De Nationale Opera Amsterdam (I.Bolton)
October 2019
"Thomas Oliemans made a fine role debut as a pipe-smoking, beard-stroking Don Alfonso, the puppetmaster behind the sadistic charade [...] His vocally secure cynic crackled with energy, occasionally revealing glimpses of the sadistic nature behind his amiable bon vivant act."
operatoday.com, W.A. Mozart, Cosi fan tutte - De Nationale Opera Amsterdam (I. Bolton)
October 2019
"Don Afonso is played by Dutch baritone Thomas Oliemans, and [...] he sings his role excellently [...]. Don Alfonso may not have many arias of his own, but in “Vorrei dir, e cor non ho”, Oliemans flows in beautifully with the ladies."
operagazet.com, W.A. Mozart, Cosi fan tutte - De Nationale Opera Amsterdam
July 2019
"The three lumberjacks were of consummate charm and fine voice: Sean Panikkar as Jack, Thomas Oliemans as Bill, and Peixin Chen as Joe."
operatoday.com, Festival d'Aix-en-Provence - Kurt Weill, Aufstieg und Fall der Stadt Mahagonny
July 2019
"Le Bill du baryton hollandais Thomas Oliemans (ancien artiste de l’académie) accomplit un rôle plus complexe, avec beaucoup de présence scénique mise en relief par une approche grenue de la ligne vocale."
olyrix.com, Festival d'Aix-en-Provence - Kurt Weill, Aufstieg und Fall der Stadt Mahagonny
July 2019
"Thomas Oliemans, Sean Panikkar et Peixin Chen ne se contentent pas d’être des comparses. Ils ont une belle prestance scénique."
lamarseillaise.fr, Festival d'Aix-en-Provence - Kurt Weill, Aufstieg und Fall der Stadt Mahagonny
March 2019
"Thomas Oliemans was a boisterous, enjoyably cack-handed Papageno who, despite bringing out the laughs, deftly managed to tap into the character’s loneliness."
bachtrack.com, W.A. Mozart, Magic Flute - English National Opera
March 2019
"Thomas Oliemans’s Papageno proved a worthy successor to Schikaneder himself, alert to the role’s competing demands without ever alerting us to their difficulty."
seenandheard-international.com, W.A. Mozart, Magic Flute - English National Opera
March 2019
"Thomas Oliemans [...] made a delightful and very human Papageno. [...] he remained witty and communicative, bringing a nice element of physical comedy to the role whilst always engaging the audience. As with the best Papagenos there was a vein of sadness running through the performance, complementing the comedy."
planethugill.com, English National Opera - W.A. Mozart, Magic Flute
February 2019
"I enjoyed Oliemans’s assumption of the role of Figaro[...] at ENO in March last year; he was if anything even finer here.[…] At the entry of the voice, Oliemans established himself as a strong, rich–voiced soloist, his diction perfectly judged."
seenandheard-international.com, BBC Symphony Orchestra - Thomas Larcher, Alle Tage (UK premiere)
February 2019
"Thomas Oliemans introduced the first of the two nocturnes [...] densely interweaving celestial and animal imagery in a dramatic monologue[...] This was a gripping performance of what is unmistakably a major work, Oliemans commanding the text[...]."
classicalsource.com, BBC Symphony Orchestra - Thomas Larcher, Alle Tage (UK premiere)
November 2018
"At a total of 27 songs [...] it makes for a huge sing for the soloist. Mr. Oliemans rose to the challenge well, singing with warm, expressive tone, distinguished by exemplary attention to textual nuances. One was struck by his ingratiating stage persona, as if he actively welcomes the audience into his world [...] Highlights? The Schumann to be sure, perhaps because of its familiarity – who can resist the gorgeous “Mondnacht”? The Brahms song “So willst du des Armen” was memorable for the singer’s dramatic urgency in his delivery. There were many more. Through it all, Oliemans captured our imagination as only the best, the most seasoned recitalists can do. He was supported in no small way by the magnificent — but never overstated — pianism of that master of collaborative piano, Malcolm Martineau. This recital won’t be easy to top in the rest of the WMCT season."
ludwig-van.com, Recital WMCT Toronto, Brahms Die schöne Magelone and Schumann op 39
September 2018
"The cast was a mix of new faces and carry-overs from the previous two runs. Overall, it is the most vocally charismatic yet.[...] Fortunately, the Papageno of baritone Thomas Oliemans remains unchanged. Totally at ease vocally and coherent down to the last eye-roll, Oliemans’s Bird-Catcher is one of the best ever performances on this stage.[...] After a brilliant comic routine with wine bottles and a pair of leeks to “Ein Mädchen oder Weibchen” one couldn’t help but root for him, bird poo stains and all."
www.operatoday.com, W.A. Mozart, Die Zauberflöte - De Nationale Opera, Amsterdam
April 2018
"This production’s saving graces are[...] an unusually strong cast.[...] Thomas Oliemans makes a wary and rather bitter Figaro, the virile edge to his voice making a fine foil to Rhian Lois’s [...] Susanna."
The Independent, W.A. Mozart, The Marriage of Figaro - English National Opera
April 2018
"Oliemans has taken parts such as Papageno Zauberflöte , Schaunard Bohème and Fritz Kothner Meistersinger at Dutch National Opera. This is a strong assumption of Figaro, robust and enthusiastic, with Oliemans enjoying every second of ‘Non più andrai’."
seenandheard-international.com, W.A. Mozart, The Marriage of Figaro - English National Opera
March 2018
"Oliemans turned in a beautifully crafted ensemble performance. This was a very human Figaro, yes there were moments of anger such as the Act One aria reminding us that Beaumarchais' original had much talk of liberty, and though he was jealous in Act Four it was not overhelming, so that Oliemans account of the Act Four aria was profoundly moving. But throughout there was a lovely sense of humanity and fun, alongside a vein of seriousness. And his sung English was excellent [...]"
Planethugill.com, W.A. Mozart, The Marriage of Figaro - English National Opera
March 2018
"Thomas Oliemans makes an auspicious debut with ENO. The voice is ample and firm and he sings with presence and flair."
Classicalsource.com, W.A. Mozart, The Marriage of Figaro - English National Opera
June 2017
"Thomas Oliemans lui prête un timbre de baryton franc et viril et un chant impeccable et émouvant."
Magazine Opéra, Niels Wilhelm Gade, Comala, Cité de la Musique Paris
April 2017
"Allen voran war Thomas Oliemans ein beeindruckend tragischer Titelheld. Seine jugendlich-spitzbübische Ausstrahlung passte hervorragend zu dem leicht psychotischen und mit ADHS-haften Zügen versehenen Charakter. Sien wohlklingender Gesang war dankenswerterweise nicht nur auf Schönheit getrimmt; immer wieder wusste der Niederländer durch vokale "Entgleisungen" die Persönlichkeit seines Hamlets weiter zu formen."
Opernglas, Thomas, Hamlet, Gothenburg Opera
July 2016
"[...] Oliemans, currently one of the most renowned Dutch singers, makes the text resound impassionedly, with a delicate yet natural pronunciation and warm voice that is never too loud and which he colours beautifully in the higher register without straining it.
And, as he indicated during his introduction, many more nuances hide between the passionate and reflective polarities of Schumann’s character[...]."
Volkskrant, Schumann, recital 'Jekyll & Hyde', Concertgebouw Amsterdam
June 2016
"[...]Every time I’ve listened to these discs I’ve been tremendously impressed.[...]A performance of Elias stands or falls by the bass who delivers the title role. Herreweghe has Petteri Salomaa[...] Sawallisch has Theo Adam and he’s a magisterial presence[...] Thomas Oliemans seems to me to embrace all facets of the Prophet’s personality. So, for example, he’s very expressive in ‘Herr Gott Abrahams’ and gives an exciting, well-articulated account of ‘Ist nicht des Herrn Wort wie ein Feuer’. When he reproves King Ahab his singing is strong and full of righteous wrath. Yet this is an Elijah who is never histrionic at the expense of dignity and of that I approve very much. I was moved by his deeply felt rendition of ‘Es ist genug!’ and after all the Prophet’s tribulations have come to an end Oliemans takes his leave in dignified fashion with ‘Ja, es sollen wohl Berge weichen’. His is an admirable assumption of the title role."
musicweb-international.com, Mendelssohn, Elias - CD
April 2016
"[...]Thomas Oliemans glänzte in der Rolle des grüblerischen Titelhelden. Er verkörperte die vielschichtige Rolle überzeugend mit facettenreichem Gesang und Schauspiel. Seine Stimme strömte, war sowohl in Höhe als auch Tiefe stets fundiert und wurde durch seine klare Aussprache noch konturierter. Seine Solopassagen sang er in der Manier von großen Tenorarien, wobei er der Partie mit seinem undurchsichtigen Bariton eine grimmigere Note gab[...]."
Bachtrack.com, Thomas, Hamlet, Gothenburg Opera
December 2015
"As her husband, Thomas Oliemans was vocally impressive, full of zing and swagger, and with pin-sharp enunciation."
Opera Today, De Nationale Opera, Amsterdam - Hänsel und Gretel
July 2015
"Thomas Oliemans singt diesen Elias ohne blinden Arg und Eiferer-Abgrund. Auch in der zerknirschten, lebensmueden zweiten Haelfte des Oratoriums bleibt sein Tonfall nobel und auf beinahe praesidiale Weise human."
Der Tagesspiegel, Mendelssohn, Elias with RIAS Kammerchor and Akademie fuer Alte Musik Berlin, Konzerthaus Berlin
July 2015
"'Ganz herausragend uebrigens auch der Bariton Thomas Oliemans in der Titelpartie, der den Propheten mit vielen feinen, aber ungekuenstelten Nuancierungen gab und der mit einem souveraenen Ernst aber ohne falsches Pathos in seiner Rolle aufging.''
www.kulturradio.de, Mendelssohn, Elias with RIAS Kammerchor and Akademie fuer Alte Musik Berlin, Konzerthaus Berlin
