THOMAS OLIEMANS
General Management
Dutch baritone Thomas Oliemans graduated from the Amsterdam Conservatory, coached by Margreet Honig. He continued his studies with KS Robert Holl, Elio Battaglia and Dietrich Fischer-Dieskau.

A regular guest at Dutch National Opera in Amsterdam, he has appeared there as Papageno in Simon McBurney's production of Die Zauberflöte (which earned him their Prix d’Amis), Schaunard in La Bohème, Kothner in Die Meistersinger von Nürnberg, Peter in Hänsel und Gretel and Lescaut in Manon Lescaut.

Other recent opera highlights include Mr Redburn in a new production by Deborah Warner of Billy Budd, conducted by Ivor Bolton, and Silvio de Nardi in Bomarzo, both at Teatro Real Madrid, his house debut at English National Opera as Figaro in Fiona Shaw’s production of Le Nozze di Figaro, Mr Redburn for Rome Opera, Schaunard at the Royal Opera House Covent Garden, Il Conte di Almaviva in Le Nozze di Figaro and the title role in Thomas’ Hamlet at the Göteborg Opera, Papageno at the Festival d’Aix-en-Provence, Guglielmo in Cosi fan tutte  and Donner in Das Rheingold at the Grand Théâtre de Genève, Ramiro in a concert version of L'Heure espagnole with the Netherlands Radio Philharmonic Orchestra, Lescaut in Manon at the Théâtre du Capitole in Toulouse and Gonsalvo Fieschi in Schreker's Die Gezeichneten at the Salzburger Festspiele.

Elsewhere, he has performed Eisenstein in Die Fledermaus, Harlequin in Ariadne auf Naxos  and Marcello in La Bohème, all at the Opéra National du Rhin, Figaro in Le Nozze di Figaro and Figaro in Il Barbiere di Siviglia for Scottish Opera, Gunther in Götterdämmerung at the Nationale Reisopera and Frank in Die tote Stadt at the Opéra national de Lorraine. He has sung leading roles in world-premieres of contemporary composers such as Peter-Jan Wagemans, Rob Zuidam and Martijn Padding.

Equally in demand in concert, Mr Olieman’s engagements include Bruckner’s f minor Mass with the Sinfonieorchester Basel and Ivor Bolton, Frank Martin's Jedermann-Monologe with The Netherlands Philharmonic Orchestra at the Amsterdam Concertgebouw, Shostakovich’s Symphony no 14 in Valladolid, a tour of Mahler’s Lied von der Erde with Amsterdam Sinfonietta, Mendelssohn’s Elias with the Akamus Berlin and the RIAS Kammerchor as well as the Royal Liverpool Phiharmonic and Vasili Petrenko, Bach’s Matthäus-Passion with the Royal Concertgebouw Orchestra under Ivor Bolton, as well as with the Rotterdam Philharmonic Orchestra, Mahler's Lieder eines fahrenden Gesellen with The Hague Philharmonic, songs from Mahler’s Des Knaben Wunderhorn with the Rotterdam Philharmonic Orchestra and the Norwegian Radio Orchestra in Oslo, Beethoven Symphony No.9 with the Orchestre National de Lille, the KIOI-Sinfonietta in Tokyo and the Dresdner Philharmonie, Frère Laurent in Roméo et Juliette and Joseph in L'Enfance du Christ by Berlioz with the Netherlands Radio Philharmonic Orchestra, Pater Ecstaticus in Mahler’s 8th Symphony with the Bochumer Symphoniker, Christus in the Johannes-Passion with the Orchestra of the 18th Century, Mahler’s Kindertotenlieder with Holland Symfonia and Frank Martin’s Suite from Der Sturm with the Orchestre Symphonique de Mulhouse.

Thomas Oliemans has worked with conductors as Charles Dutoit, Jiři Bělohlávek, Hans-Christoph Rademann , Ingo Metzmacher, Semyon Bychkov, Pablo Heras-Casado, David Afkham, Marc Albrecht, Ivor Bolton, Frans Brüggen, Hartmut Haenchen, Edo de Waart, Kent Nagano, Jaap van Zweden, Reinbert de Leeuw, James Gaffigan, Markus Poschner and Yannick Nézet-Séguin and stage directors such as Robert Carsen, Simon McBurney, Christof Loy, Willy Decker, Pierre Audi, Philipp Himmelmann, David Alden, Sir Thomas Allen, Stephen Langridge and Laurent Pelly.

A sought-after recitalist, he appears with pianists Malcolm Martineau, Roger Vignoles, Rudolf Jansen and Paolo Giacometti, amongst others, in Oxford, Cambridge, Vienna, Zürich, Basle, Antwerp, Lübeck, London (Wigmore Hall), Tokyo and Paris. A regular guest at the Concertgebouw Amsterdam, he recently presented together with Malcolm Martineau the three main Schubert song-cycles there within the course of a week, as well as Wolf and Schumann recitals.

His discography includes Schubert’s Winterreise and Schwanengesang, an album of song cycles by Francis Poulenc and Gabriel Fauré with pianist Malcolm Martineau, entitled Mirages, substantial contributions to vols 3, 4 and 5 of the Complete Poulenc-series by Signum Classics, an album with the Schumann cycles op 89, 90 and 48, with pianist Paolo Giacometti, Mendelssohn’s Elias with the Akamus Berlin and the RIAS Kammerchor under Hans-Georg Rademann, works by Frank Martin for baritone with Stavanger Symphony Orchestra, Christus in Bach’s Johannes-Passion with the Orchestra of the 18th Century and Frans Brüggen and Shostakovich’s 14th Symphony with the Netherlands Chamber Orchestra and Gordan Nikolic.

Highlights in the 2018/19 season include returns to Dutch National Opera and English National Opera as Papageno in Die Zauberflöte, to the Festival Aix-en-Provence and the Royal Opera House Covent Garden as Mr Redburn, recitals with Malcolm Martineau at the Oxford Lieder Festival, the Muziekgebouw Amsterdam, in Madrid, Toronto and New York, amongst other places, Bach’s Weihnachtsoratorium with the Dutch Chamber Choir and Peter Dijkstra and Thomas Larcher’s Symphony for Baritone and Orchester, Alle Tage, with the BBC Symphony Orchestra. Thomas Oliemans will also curate the 2019 Delft Chamber Music Festival.

 
 
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AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.
Opera|Concert
ComposerWork
BernsteinCandideMaximilian
BrittenPeter GrimesNed Keene
BrittenBilly BuddMr. Redburn
BrittenThe Rape of LucretiaTarquinius
GinasteraBomarzoSilvio de Narni
GluckAlcesteHercule
HändelArianna in CretaMinos
HenzePollicinoVater
HumperdinckHänsel und GretelPeter Besenbinder
KorngoldDie Tote StadtFrank/Fritz
LeoncavalloPagliacciTonio
MascagniCavalleria RusticanaAlfio
MassenetManonLescaut
MozartCosi fan TutteGuglielmo
MozartDon GiovanniDon Giovanni
MozartLe Nozze di FigaroIl Conte
MozartLe Nozze di FigaroFigaro
MozartDie ZauberflötePapageno
PucciniLa bohème Marcello
PucciniLa bohème Schaunard
PucciniLa Fanciulla del WestSonora
PucciniManon LescautLescaut
PucciniTurandotPing
SchrederDer Ferne KlangRudolf
SchrekerDie GezeichnetenGonsalvo Fieschi
Strauss (Johann)Die FledermausEisenstein
Strauss (Richard)Ariadne auf NaxosHarlekin
VerdiUn Ballo in MascheraSilvano
WagnerDas RheingoldDonner
WagnerGötterdämmerungGunther
WagnerDie Meistersinger von NürnbergFritz Kohtner
WagnerTannhaüserWolfram (in preparation)
WagnerParsifalAmfortas (in preparation)
WagnerTristan und IsoldeKurwenal (in preparation)
Opera|Concert
ComposerWork
BachMatthäus PassionBass-arias, Christus
BachJohannes PassionBass-arias, Christus
BachB-minor MassBass
BachWeihnachtsoratorium Bass
BachBauerncantateBass
BachKreuzstabcantataBass
BachIch habe genug, BWV 82Bass
BeethovenSymphony Nr. 9Bass
BerliozRoméo et JulietteFrère Laurent
BerliozL'enfance du Christ Joseph
BizetLes Nuits d'été
BrahmsEin Deutsches Requiem-
BrahmsVier ernste Gesänge -
BrittenWar Requiem-
DebussyTrois Ballades de François Villon-
DurufléRequiemBass
EislerErnste Gesänge-
FauréRequiem-
HändelMessiah-
HaydnNelson-MesseBass
HaydnDie SchöpfungAdam/Rafael
HaydnDie Jahreszeiten Bass
HenzeRichard Wagnersche Klavierlieder-
HonnegerLe roi DavidRécitant
MahlerSymphony Nr. 8Pater Ecstaticus
MahlerLieder eines Fahrenden Gesellen-
MahlerDes Knaben Wunderhorn-
MahlerKindertotenlieder-
MahlerRückertlieder-
MahlerDas Lied von der Erde-
MartinSechs monologe aus Jedermann-
MartinSuite aus "Der Sturm"-
MendelssohnEliasElias
MendelssohnPaulusPaulus
PoulencChansons Villageoises-
PoulencLe Bestiaire-
RavelDon Quichotte à Dulcinée-
RossiniPetite messe solenelleBass
Shostakovich14th Symphony-
ShostakovichMichelangelo Suite
ZemlinskyLyrische Symphonie-

Lieder - Dr. Jekyll & Mr. Hyde

New release January 2016!!!
Thomas Oliemans performs works by Schumann with pianist Paolo Giacometti. 
ASIN: B018WD4UMU
 

F. Schubert: Schwanengesang, D 945

and four Schulze-settings.
with Malcolm Martineau, piano
KTC 1420 Etcetera-Records

 

J.S. Bach: Johannes-passion

Orchestra of the 18th Century, Frans Brüggen
Capella Amsterdam, with Peter Kooij, Markus Schäfer,
Marcel Beekman, Michael Chance, Carolyn Sampson
Glossa The Grand Tour GCD921113

Mirages

Mélodies de Gabriel Fauré et Francis Poulenc
with Malcolm Martineau
KTC 1366 Etcetera-Records

F. Martin: Der Sturm/Monologe aus Jedermann

Stavanger Symphony-orchestra, Steven Sloane
MDG, EAN 0760623161464

F. Martin: Der Sturm

Dutch Radio Philharmonic Orchestra, Thierry Fischer
with Robert Holl, Simon O´Neill, Christine Buffle
recorded live 2008 Concertgebouw Amsterdam
Hyperion Records

THOMAS OLIEMANS: F. Mendelssohn, Elias, Es ist genug!

THOMAS OLIEMANS: F. Schubert, Winterreise

Live at the Concertgebouw Amsterdam

THOMAS OLIEMANS: Have yourself a merry little Christmas


"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, November 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, De Nationale Opera, Amsterdam - Die Zauberflöte, September 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, English National Opera - The Marriage of Figaro, 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, English National Opera - The Marriage of Figaro, April 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, English National Opera - The Marriage of Figaro, 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, English National Opera - The Marriage of Figaro, March 2018
"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, June 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, April 2017
"[...]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, July 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, June 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, April 2016
As her husband, Thomas Oliemans was vocally impressive, full of zing and swagger, and with pin-sharp enunciation.
Opera Today, Hansel and Gretel, Dutch National Opera, December 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, July 2015
“Thomas Oliemans gave Almaviva the oily personality of a practised adulterer but also a real sense of danger. His anger in discovering that someone is hidden in the Countess’ rooms in Act 2 was not comic but deadly serious – when the Count returns with a crowbar to force open the locked door of the closet he also brings a gun, and in Oliemans’ characterisation would undoubtedly have shot Cherubino had he found him there. Add a warm, confident and expressive baritone and Mr Oliemans makes a sensational Count.”
Seen and Heard International, about the role of Conte di Almaviva in Le Nozze di Figaro at Göteborg Opera, October 2014

“With his fine sense of physical comedy and communicative singing style, the baritone Thomas Oliemans was a fine Papageno and the well-deserved audience darling of the show”.

New York Times, about the role of Papageno in Die Zauberflöte at the Festival Aix-en-Provence, July 2014

"Thomas Oliemans, baryton, s’impose dans un Papageno juste, enlevé et parfois touchant. Il est drôle sans excès et vocalement il est aussi à l’aise que scéniquement. Il fait sonner avec malice des bouteilles, telles des carillons, avec des poireaux pour baguettes; mais pourquoi des poireaux, symbole du pays de Galles ? Quelque minutes de facéties pour une pièce qui sait aussi être légère. Il a une très bonne diction et fait résonner sa voix dans de jolies nuances avec un legato mélodieux."

GB Opera Magazine , about the role of Papageno in Die Zauberflöte at the Festival Aix-en-Provence, July 2014

"von Thomas Oliemans so hinreißend und Mozart-like gesungen, dass man alles sofort noch mal hören möchte“.

Opernwelt, About the role of Papageno in Die Zauberflöte at De Nederlandse Opera, February 2013

“Accanto a lui uno straordinariamente bravo Thomas Oliemans dà voce ad un Papageno spigliatissimo ed esuberante pur senza mai perdere di vista i valori propri del canto."

Operaclick.com, About the role of Papageno in Die Zauberflöte at De Nederlandse Opera, January 2013
"Oliemans is an exceptionally fine singer. Some of the performances- “In der Ferne’, “Im Fruhling” and “Am Meer” for example- rank with the best."
Gramophone, CD Schwanengesang, March 2011
The most beautiful role is that of the wavering priest Pontus, exceptionally well sung and acted by Thomas Oliemans. The scene in which he – as an act of ultimate self-denial – strips his own skin, makes you shiver.”
Het Parool, about the role of Pontus in Legende at De Nederlandse Opera, February 2011
"On aurait du coup préféré entendre dans cette partie l'excellent Thomas Oliemans qui interprète un Hercule fantasque à la voix autoritaire et au jeu savoureux."
Emmanuel Andrieu, Anaclase, about the role of Hercule in Gluck's Alceste at the Festival d'Aix en Provence, July 2010

Thomas Oliemans

Bio English

Thomas Oliemans

Photo Credit: Marco Borggreve

Thomas Oliemans

Photo Credit: Marco Borggreve

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