|Staatstheater Wiesbaden – Götterdammerung - GUNTHER
|Gunther is vocally exactly and carried sung by Birger Radde. He is the ideal cast for the role of Gunther and the great surprise of the evening. Here, we have a powerful Gunther, who in his acting and vocally always prevails in the interaction with Hagen. His full-bodied and extremely carrying voice plays with the tonal colors and he succeeds in making his development audible right until the end.
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|Theater Bremen - Don Giovanni - DON GIOVANNI
|Birger Radde makes a major achievement in the title role, especially because his portrayal has a certain inscrutability and because his vigorous baritone voice not only expresses grandezza and brilliance but also the world of dust and dirt.
|Nationaltheater Brno – Salome - JOCHANAAN
|Baritone Birger Radde created a strong impression as the intolerant and intense Jochanaan, successfully capturing the certainty and fervor of his faith. His voice possesses an attractive timber. It is secure, firm and well-grounded, and when singing from his imprisonment in the cistern, he was able to project his voice so that it rang out, his authoritative and defiant tone echoing resonantly across the stage. When Salome demanded to see him, he was defiant and dismissive, barely even bothering to look at her, coating his voice with scorn and contempt to the point that his disgust for her was palpable; not that this bothered Salome, who became more entranced by him.
|Teatro Petruzzelli Bari – Tannhäuser – WOLFRAM VON ESCHENBACH
|...especially Birger Radde in the role of Wolfram von Eschenbach, is particularly worth mentioning. He succeeded is interpreting the role so touchingly, the audience felt a shiver down its spine (sein Lied an den Abendstern in the final act was a true anthology).
|Janáček-Theater Brno - Salome - JOCHANAAN
|The young German baritone Birger Radde, who is at the beginning of his world career impresses in the role of Jochanaan with a „voice like a thurible“: masculine and full of metallic character.
|Dana Herzowa, Der neue Merker 07/2023
|Though his artistic biography is already quite wide-ranging, I only discovered the German Birger Radde (Jochanaan) in April this year as he portrayed the title part in „Wozzeck“ at the Vienna State Opera. Radde has a solid, nobly colored , technically concentrated voice, that sounds resonant both on stage and from the subtly sound-proved orchestra-pit. Birger Radde is the ideal cast for the role, both vocally and as a type.
|Contrary to Ballová, Birger Radde as Jochanaan sang the major part of his role off stage, yet he had no difficulties at all to fill the entire hall with his voice. Some of his zombie-like, B-movie movements, which emerged after his appearance on stage, could have seem rather ridiculous ; yet they perfectly fitted in the overall concept and emphasized the absurdity of the action. The key dialogue, in which Salome tries in vain to seduce Jochanaan, was one of the dramatical and vocal highlightd of the entire performance.
|Staatsoper Wien - Wozzeck - WOZZECK
|One man’s tragedy can be another man’s chance. As Martin Kränzle, being indisposed because of a cold, had to cancel was his performances in his role debut at the Vienna State Opera, Birger Radde jumped in on short notice. Probably his name wasn’t much known among opera friends in Austria ( except maybe in Salzburg, where already sung). But as he had some spare time after the premiere of “Wozzeck” (23th of March) in Karlsruhe, he took his chance and was able to celebrate an unexpected debut at the Vienna State Opera, leaving an extremely positive impression. Although he had but little time to rehearse , he dind’t just impeccably fit in scenically in the production, also his voice proved to be virile and stable. Even the few lyrical passages were sung with beautiful legato and his outstanding diction was particularly worth mentioning.
|Der Neue Merker 05/23, Wolfgang Habermann, Vorstellung 1.4.2023
|In focus among the singers was the German baritone Birger Radde in the title role – a sympathetic “Feschak”, whom maybe lacks a bit the rebellion against abuse. Anyway, a promising new encounter with a Wagner singer of a new kind.
|Der neue Merker 05/23 , Peter Dusek, Vorstellung 5.4.2023
|Theater Karlsruhe - Wozzeck - WOZZECK
|In Birger Radde they have found an excellent singer for the title part, whose career is just beginning to take off. The baritone, who was born in Demmin, has a broad repertoire, but hasn’t yet committed himself to a specific repertoire. He really ought to retain this flexibility in choosing his roles. After his celebrated interpretation of Don Giovanni in Bremen and an outstanding performance as Wolfram at last year’s Heidenheim Festival, he confirmed his promising development with a Wozzeck in Karlsruhe, which truly set new standards. With great text comprehensibility, he vocally smartly performed the character. With precise Lied interpretation, emphasizing substantial accents with a considerable dramatical force, he presented his enormous vocal possibilities with enticing perspectives.
|Das Opernglas 5/ 2023, JMW
|But above all because of the outstanding vocal achievements of the admirable ensemble it worked out without any restrictions. First and foremost because of Birger Radde’s noble, blue velvety baritone voice as the empathic force centre.
|Der Rosenkavalier - Felsenreitschule Salzburg - FANINAL
|BIRGER RADDE convinces as a rather young-looking Faninal with his sweeping baritone voice.
|Der Neue Merker, 12/22 Gottfried Franz Kasparek
|Teatro comunale di Modena – Tannhäuser – WOLFRAM VON ESCHENBACH
|Birger Radde, Wolfram, however shines with musicality and technical mastery. The baritone impresses with his smoothness and flexibility, a perfectly rounded middle register and a secure and sounding upper register. His phrasing is always elegant and communicate a noble and aristocratic character. His wiry, lean stage presence gives this smart singer even more credibility.
|The baritone Birger Radde had a magnificent voice, with an intense, severe, very noble singing without ever forcing ( his highlight was obviously the aria in the third act, where he presented seldom meditative depths);...
|Teatro Reggio Emilia – Tannhäuser – WOLFRAM VON ESCHENBACH
|Wolfram von Eschenbach portrayed by Birger Radde, intense in the touching romance „O du mein holder Abendstern“, or as the minstrel tenderly and platonically in love with Elisabeth, comparing her with the evening star, presaging her approaching death...
|Of the utmost importance was Birger Radde‘s Wolfram von Eschenbach, who presented an elegant and impeccable singing line , proving to have a truly remarkable breath control, using it to sculp "O du, mein Holder Abendstern".
|Landestheater Salzburg - Der Rosenkavalier - FANINAL
|BIRGER RADDE powerfully sings Faninal, resembling a night club’s owner.
|OPERNGLAS 11/2022, H.C. Mayer
|Felsenreitschule Salzburg – Der Rosenkavalier – FANINAL
|Birger Radde is very sovereign in the tricky high baritone part of her father Faninal.
|Festspiele Heidenheim – Tannhäuser - WOLFRAM
|Birger Radde is a noble and elegant Wolfram von Eschenbach.
|Orpheus, Antje Rößler - Sept/Oct. 2022
|Both for vocal reasons and because of his intense Text-penetration and his eloquent play, Birger Radde was the singer star of the evening. The young baritone from Northern Germany has a good stage presence and impressed as Wolfram von Eschenbach, strongest opponent in winning the favor of the Landgrave’s niece. His well-grounded voice fits perfectly and due to its elegant guidance it succeeds in declamatorily winning over the audience. As the evening star rose into the sky, just as the huge aria of the third act began, everything was just perfect.
|DAS OPERNGLAS 9/2022 , J.-M.Wienecke
|Birger Radde makes his debut as Wolfram with a magnificent Timbre and a “Abenstern” which gave the audience a veritable goose skin moment.
|Bettina Schröm – Südkurier
|Blessedly beautiful Birger Radde sings Wolfram. In the „Lied an den Abendstern“, one can truly hear a desperate farewell, matching the spirit of Liedgesang. A true highlight!
|Excellent singers are Birger Radde as Wolfram…
|This destruction of all hopes is vocally and dramatically portrayed in a most impressive way by… Birger Radde as highly besautifully voiced Wolfram.
|Birger Radde sings Wolfram with a powerful baritone voice and also scores with a strong overall clarity. His famous „Song to the Evening Star“ I equally is a musical highlight of the evening.
|Opéra de Monte Carlo – WOZZECK
|The German baritone Birger Radde’s interpretation of the role of Franz Wozzeck portrays a hallucinated, flexible and striking character. This soldier with dark circles under his huge eyes, which look upon an inner life that has always been quite chaotic, has a bit of a Pierrot lunaire. Both his stature and his voice build a solid pillar, deeply rooted and yet able to sway under the force of his burden, of which he is the object and love, of which his is the subject. His timbre makes his entire vocal line passionate and gives it sharp colors, smoothly pervaded by the smallest emotional outbursts of detachment, which he knows how to capture and transmit.
|The same can be said of Birger Radde as Wozzeck , who is surprisingly authentic in the revival of his crazy, haggard, violent or antiqued character.
|Artfully using his half voice with soft and tender vibes, Birger Radde pereforms a tormented but yet touching Wozzeck, in perfect balance between hallucinating madness and dedication.
|IOCO, Michael Stange, 04/11/2018
|Theater Pforzheim - Don Giovanni - DON GIOVANNI
|The way Birger Radde sings and plays , he makes clear that Don Giovanni is definitively going to be missed. With his appealingly virile baritone voice, Radde is perfect in the role of the cool, power-obsessed seducer in blue jeans, not only in the breathtaking speed of the coloratura-precise “champagne aria”. In the Kanzonetta he exposes the seducer’s other side, revealing his inmost being in an intimate moment with enchantingly harmonious and soft supplication.
|BNN – Nikolaus Schmidt
|Birger Radde (guest) is the undisputed center of the performance. With his robust baritone voice he performs the title role, turning it into an ideal, modern figure with vocal and acting authority. In the flattering serenade, the insistent courting duet with Zerlina or the “champagne aria” – a brilliant highlight of this performance – the singer always know how to convince both with his presence and his personality.
|Pforzheimer Zeitung – Rainer Wolff
|Theater Bremen – DON GIOVANNI (Oktober 2019)
|The performance is dominated by the brilliant actor Birger Radde as the title heron Don Giovanni.
|But back to Radde and Heinrich: bot hof them brilliantly master their role. As Giovanni Radde had to do without a huge aria, though he has a lot to sing, which he does with a rich sounding baritone voice.
|Birger Radde in the title role accomplishes great things, because his acting contains the necessary abysmality and because he doesn’t just looks for grandezza and brilliance ( which he definitely possesses) but also for the dirt of the world.
|Opernwelt 12/2019 Jürgen Otten
|Theater Bremen - Die tote Stadt – FRANK (Juli 2019)
|And then all of the sudden we indeed experience the magical moment of Pierrot's utopian ballade "Mein Sehnen, mein Wähnen, es träumt sich zurück."
|Theater Bremen - Un ballo in maschera – Renato
|Birger Radde sings Renato with an Italian timbre and experienced vocal technique. From the dark, lower notes to the high and beaming, he connects the registers of his voice effortlessly with a beautiful, steady, and thrilling quality. You don’t hear such an excellent Renato very often.
|IOCO, Michael Stange, 04/11/2018
|Particularly worth mentioning is Birger Radde as Renato, whose charismatically beautiful voice is exceptionally thrilling.
|Theater Bremen - Lucia di Lammermoor - ENRICO
|The baritone Birger Radde, was a passionate Enrico with a powerful and perfectly balanced vocal sound. The sinister and convincing interpretation of the role reminds one of the character Jago. Brillant!