"[...] 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),
February 2020
"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,
December 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 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,
October 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,
July 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,
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,
W.A. Mozart, Die Zauberflöte - De Nationale Opera, Amsterdam,
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,
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,
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,
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,
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