"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,
English National Opera - W.A. Mozart, Magic Flute,
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,
English National Opera - W.A. Mozart, Magic Flute,
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,
March 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),
February 2019
"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,
De Nationale Opera, Amsterdam - Hänsel und Gretel,
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”.
,
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."
,
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“.
,
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,
De Nederlandse Opera - Legende,
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,
Festival d'Aix en Provence - Alceste,
July 2010