Bayrischer Rundfunk Klassik, 26. 02. 2012
"We are used to sopranos and countertenors demonstrating their coloratura proficiency in Händels Cantatas. But here, bass-baritone Raimund Nolte demonstrates that low voices can also set off bel canto fireworks. Nolte gives us a highly virtuoso performance, mastering the low notes as easily and seamlessly as the high ones. This unusual capability commands our respect, but Nolte is not content with just vocal prowess: he sings with intensity and expression. This is the pure pleasure of bel canto singing. Altogether, a beautiful and fascinating recording of Händel rarities. In short, a strong performance of strong music." (Bavarian Radio Classics: CD reviews: Händel, the complete Italian cantatas for bass)


mdr-Figaro, 13. 02. 2012
"In contrast to the many examples of Händel cantatas for sopranos, those for bass are only very rarely recorded. For a very good reason- they are extremely difficult pieces!
They present a challenge for any singer’s voice. Constant switching of registers, the demand for a powerful tone, and dangerously adventurous intervals, sometimes compassing 2 1/2 octaves, are sure to produce beads of sweat on the brow of any bass. Nolte faces the challenge- and wins. His bass remains round and flexible in all registers." (mdr-figaro: CD review, Händel, the complete Italian cantatas for bass)


Badische Zeitung, 21.3.2015
" ... und Raimund Noltes jugendlicher Kurwenal ist ein Gewinn für die Opernwelt."
(Tristan und Isolde; Opéra national du Rhin, Strasbourg)


Neue Musik Zeitung, 20.3.2015
"... Mit ihrer Eloquenz und wohltimbierten Gestaltung ihrer Rollen sind sowohl Michelle Breedt als Brangäne, als auch Raimund Nolte als Kurwenal die Stützen des hohen Paares."
(Tristan und Isolde; Opéra national du Rhin, Strasbourg)


Opera Lounge, 23.3.2015
"... Raimund Nolte singt einen hervorragenden großformatigen, jugendlichen gesunden Kurwenal."
(Tristan und Isolde; Opéra national du Rhin, Strasbourg)


OperaNews, 7.4.2015
"... Raimund Nolte's sympathetic Kurwenal was also gray, but in Anderson Cooper mode ..... Nolte sang handily, finding more legato passages than do most."
(Tristan und Isolde; Opéra national du Rhin, Strasbourg)


ODB-Opéra, 24.3.2015
"Le Kurwenal séduisant et décontracté de Raimund Nolte surprend agréablement par sa jeunesse et sa vitalité. La voix, homogéne dans tous les registres, se rapproche de celle du Heldentenor dans les aigus mais posséde aussi de beaux graves."
(Tristan und Isolde; Opéra national du Rhin, Strasbourg)


Concert Classic Com, 24.3.2015
"... et notamment contre le superbe macho Kurwenal, Raimund Nolte, voix d`airain et prestance de Clint Eastwood.&xnbsp;Au troisième acte, triomphe de Kurwenal, qui éponge tendrement son seigneur, toujours sur fond de mer, dans une chambre crouteuse. Là, encore et surtout, Raimund Nolte bouleverse par sa sbriété tendue, la force claire de son chant."
(Tristan und Isolde; Opéra national du Rhin, Strasbourg)


hebdoscope, Avril 2015
"... C´est Raimund Nolte qui incarne Kurwenal avec sa magnifique voix de baryton et sa prestance."
(Tristan und Isolde; Opéra national du Rhin, Strasbourg)


European Cultural News, 29.5.2015
"... Raimund Noltes Bassbariton hat ein so wunderbares Timbre, dass man ihn gerne öfter hören möchte, als es die Rolle ihm vorschreibt."
(G.F.Händel: Jephta; Wiener Festwochen)


Online Merker, 29.5.2015
"... Exzellent auch der Baß des Raimund Nolte."
(G.F.Händel: Jephta; Wiener Festwochen)


The Telegraph, 29.7.2015
"Tristan und Isolde, Bayreuth Festival, review: 'hugely moving'
... Raimund Nolte a very fine sounding Melot."


Deutschland Radio Kultur, 25.7.2015
"... Auch sängerisch wird überwiegend Überzeugendes geboten (Tristan und Isolde, Bayreuther Festspiele 2015): Georg Zeppenfelds sämiger Marke, Raimund Noltes starker Melot oder Iain Patersons satt grundierter Kurwenal tragen bei zu einem Sängerfest, welches durch Stephen Goulds phänomenal präsenten Tristan zusätzlich veredelt wird." (Jörn Florian Fuchs)


Der neue Merker, 27.7.2015
"... Raimund Nolte sang einen stimmschönen Melot."
(Tristan und Isolde, Bayreuther Festspiele 2015)


Kurier (Österreich), 27.7.2015
"... Idealbesetzung. ... Auch Raimund Nolte ist als Melot tadellos besetzt."
(Tristan und Isolde, Bayreuther Festspiele 2015)


Frankfurter Rundschau, 30.10.2000
"... Nolte's voice is capable of anything, from a radiant baritone to a basso profondo, he is a performer to the core, on the concert stages, wherever.", 14.12.2012
"L'orateur de Raimund Nolte a la voix large et séduisante, sa prestation est d'une élégance et d'un brio inattendus." (Zauberflöte; Opéra national du Rhin, Strasbourg)


Yediot Achronot, Israel, 10.10.2012
"Another star that evening was German Baritone Raimund Nolte in the role of Jesus, which is simply written for him. Nolte stood downstage with humility while hypnotizing and sweeping the audience off their feet with his beautiful touching voice and the spiritual message in it" (Maxim Reider)


Ha'aretz, 10.10.2012
"The Bass Baritone guest Raimund Nolte was really excellent" (Hagai Hitron)


Globes, Israel, 10.10.2012
"Soloist star was also Baritone Raimund Nolte in the role of Jesus. He presented a rich dramatic voice, in a performance full of stage presence. I would be thrilled to see him perform in Israel again" (Omer Shomrony)


Offenbach Post, 17. 01. 2012
"Bass-baritone Raimund Nolte shone in Christoph Friedrich Bach’s Pygmalion cantata, written 1772. Many consider the piece unsinkable, but he brought tension and cohesion to the 250-bar recitative joining the Allegro "Ihr Götter, welche Phantaseyn!", the Andante “Ach, daß mein irdisch Ohr nicht fähig ist” and the Allegretto "Bald sollen diese Lippen". And with the delicate backdrop of strings, he demonstrated the high art of Melodrama so pictorially , that he hardly needed the figure of Venus on stage at all."


Frankfurter Allgemeine Zeitung, 18. 01. 2012
"This reserved and elegant Gestus was also observed in the Pygmalion cantata of the "Bückeburger" Johann Christoph Bach. (written 1772, with text by Karl Wilhelm Ramier). In this work for string orchestra and bass, Raimund Nolte impressed us with his velvety, well balanced bass-baritone timbre, and expressive text declamation."


Frankfurter Presse, 16. 01. 2012
"The cantata Pygmalion demonstrated the beginnings of the Gallant Style. Raimund Nolte presented an elegant bass-baritone, flexible and full-bodied."


Frankfurter Allgemeine Zeitung, 15.8.2009
"Händels arias generally aren't made of paper. For example Polifemos aria "Fra l'ombre e gli orrori" which reaches from a low D to a high A... Flexible in voice and expression, Raimund Nolte performed as Polifemo- also with his joyous acting- within all the comedy he managed to include the required tragedy as well... ..."


Potsdamer Neueste Nachrichten, 11.07.2009
"... The storm of bravos for Raimund Nolte's powerful bass-baritone was well-deserved. An intense and revenge-crazed interpretation of Alfio. (in Mascagni: Cavalleria Rusticana) ..."


Mitteldeutsche Zeitung, 08.06.2009
"... Raimund Nolte's Oronte in Floridante at the Handel Festival in Halle develops into the emotional centre of an otherwise lyrical assemblage and ensures a sympathetic villain. ..."


"... Rainmund Nolte as Don Giovanni is elegant and charming as well as an oily and impenitent playboy. He masters the role with elegance in every register. ..."


Bonner Rundschau, 02.06.2009
"... In addition, an important discovery: J. Christoph Friedrich Bach's Pygmalion, with the Beethoven Orchestra in Bonn, especially thanks to Raimund Nolte's beautiful baritone. ..."


Bonner Generalanzeiger, 02.06.2009
"... Raimund Nolte's resonant baritone and excellent diction in the cantata "Pygmalion" ..."


Opernwelt, November 2008
"... Raimund Nolte's portrayal of the title role in Dallapiccola's Il Prigioniero as a deeply moving character study ..."


Frankfurter Allgemeine Zeitung, 09.10.2008
"... Raimund Nolte's moving portrayal of Dallapiccola's Prigioniero as the embodiment of apprehension and victimization, in which the promise of salvation is used as the last and most perfidious torture. ..."


Mitteldeutsche Zeitung, 06.10.2008
"... Raimund Nolte is authentic and convincing in the title role of Dallapiccola's Il Prigioniero, portaying the sudden shifts between desperation and new hope as the cynical games of the Inquisition slowly wear him down."


Leipziger Volkszeitung, 02.05.2008
"... Raimund Nolte's Eugene Onegin transforms from the cold cynic to the desperate lover. His clear, bright baritone has all the resources for the transformation."


Magdeburger Volksstimme, 29.04.2008
"... Raimund Nolte in the title role of Tchaikovsky's Eugene Onegin is a dandy, cynic, an aspirant and despairing of hope. He acts and sings this character with an illuminating feeling for the brokenness and immorality of the figure. ..."


Kölnische Rundschau, 20.08.2007
"... Raimund Nolte was outstanding as Enrico in Hayden's L'Isola disabitata, with his flexible and voluminous bass. ..."


Göttinger Tageblatt, 06.06.2007
"... Raimund Nolte is an exceedingly superior King in Handel's Ariodante at the Handel Festival in Halle, with his unmistakable bass. ..."


Magdeburger Volksstimme, 04.06.2007
"... Nearly all the soloists were excellent. Raimund Nolte's sonorous bass made for an impressive King of Scotland in Handel's Ariodante at the Handel Festival in Halle. ..."


Mitteldeutsche Zeitung, 04.06.2007
"... Raimund Nolte portays a King (in Handel's Ariodante at the Handel Festival in Halle) whose greatness is independant of the crown. ..."


Rheinische Post, 07.04.2007
"... with fascinating tension. This can be said as well about the interpreter of Christ's words, Bass-Baritone Raimund Nolte. There have been many &xnbsp;dull or monotone performances &xnbsp;of this part (Jesus in Bach: Johannespassion). None of that with Nolte who embodied his part with dynamic-dramatic presentation. ..."


Westdeutsche Allgemeine Zeitung, 07.04.2007
"... and the words of Jesus (in Bach: Johannespassion) Raimund Nolte filled with the kind of natural expression which creates concernment ..."


Gramophone, "editor's choice", march 2007
"... Of the solo singers, special mention must be made of the bass, Raimund Nolte, whose soft-grained "Et in Spiritum Sanctum" stands out, though it is the effect of the combined ingredients which makes this (CD-Produktion, Bach: H-moll-Messe unter Leitung von Frieder Bernius, CARUS-Verlag) the most striking and satisfying Mass in B minor to have appeared in years."


Badische Neueste Nachrichten, 12.02.2007
"... The Baritone Raimund Nolte found exactly the right tone color for these sensitive songs (Mahler: Lieder eines fahrenden Gesellen). His very clear, balanced voice was tender and sensitive as well as highly dramatic or burning of rage ..."


Badisches Tageblatt, 12.02.2007
"... The Baritone Raimund Nolte turned out to be the ideal interpreter for those four Orchestral songs (Mahler: Lieder eines fahrenden Gesellen) ... Nolte was reciting the text with a lyrical Baritone voice which had a warm color to it throughout all ranges ..."


Neues Deutschland, 02.02.2007
"... Raimund Nolte (as Herr von Faninal in Strauss' Rosenkavalier') in this case is more the Senator Buddenbrook then the carrer-oriented Parvenü. Especially with this cast for the main parts the new production ( at the Opernhaus Halle) can survive musically. ... "


ClassicsToday, November 2006
"... As for the soloists, the Stuttgart ensemble is very fine, especially countertenor Daniel Taylor and baritone Raimund Nolte (CD-Produktion, Bach: H-moll-Messe unter Leitung von Frieder Bernius, CARUS-Verlag) ... Highly recommended!"


Magdeburger Volksstimme, 01.11.2006
"... Extraordinary vocal accomplishments in general, but especially by Jacek Strauch as Wotan, Richard brunner as Loge and Raimund nolte al Donner (in Wagner's Rheingold) ..."


Das Opernglas, September 2006
"... more powerful, vocally and in body language more direct by quite a few degrees was Raimund Nolte as Ercole (in Händel's "Admeto" at the Händelfestspiele, Halle 2006), almost half a Don Giovanni, if he just realized that it would be worth his time to bother with women ..."


Leipziger Volkszeitung, 29.03.2006
"... Raimund Nolte as jealous, bulbous nosed husband (Beaupertus in Nino Rota's "Florentiner Hut") is finally part of the house's cast- with a dark timbred voice and much enthusiasm a stroke of luck ..."


Rhein-Zeitung, 12.08.2005
"... and Raimund Nolte (in Kantaten with Musica Antiqua Köln beim Rheingau Musikfestival) by now has developed into a cultivated singer-personality with clear articulation ..."


Schwäbisches Tagblatt, 12.7.2005
".... mindblowing also the lyrical baritone Raimund Nolte (in Britten's War Requiem) ..."


Kölnische Rundschau, 26.03.2005
"... Raimund Nolte was an ideal cast as the singer of Christ's words ..."


Potsdamer Neueste Nachrichten, 29.03.2004
"... Don Giovanni is treated by Raimund Nolte with total conviction as an uninhibited, cynical bully and degenerate, cavorting between hâuteur-de seigneur and the erotic magnetism of a born sweet-talker. No wonder the world of women lies at his feet. It´s their own fault, one would cry out from the stalls, just keep your hands away from him. Yet he doesn´t just look sexy, he´s singing that way too. ..."


Frankfurter Rundschau, 17.7.2003
"... Bass-baritone Raimund Nolte was convincing in the title role in all the facets between darkly brooding and warm-hearted. "Strongly zealous, also capable of anger, rage and darkness - just as we need him to be nowadays" - thus was Mendelssohn` s Elijah-ideal. To this spectrum sung sonorously and with technical brillance Nolte added a sizeable portion of irony. ..."


Neue Westfälische, 16.6.2003
"... Raimund Nolte embodies the ideal cavalier-baritone in voice as well as appearance. His Germont (Verdi) achieved a perfect fusion of melting and glowing warmth, just as his Malatesta (Donizetti) offered a supple beauty of sound ..."


Neue Westfälische, 14.4.2003
"... Raimund Nolte is brillant in the role of Argante (Handel: Rinaldo), lustful, brutal, seductive and vocally so virtuosic that it sent a set of delicious shudders down one` s spine. ..."


Westfalen-Blatt, 14.4.2003
" The dark duo Armida and Argante, portrayed by Victoria Granlund and Raimund Nolte are the real stars of the opera (Handel, Rinaldo). Seductive magic powers, fury, torment, outburst of rage and raw violence are the platform of emotions upon which the front-line bad-guys act with superior self-certainty. Regardless whether she sprawled lasciviously on a tiger skin wearing a sequined dress, or whether he struck a macho pose with a cigar in the corner of his mouth, spooning dogfood out of a tin, both characters provided equal fascination. In addition to which powerfully muscular sung roles impressively performed showed them giving into the urges of their power fantasies with abondon."


Opernglas, December 2002
"... Raimund Nolte` s youthful Sharpless convinced with his vocal nobility and made more than clear the transformation of the figure from a young yuppie-diplomat to a tragic henchman to family Pinkerton, eaters up by self doubt. ..."


Kieler Nachrichten, 12.11.2002
"... Raimund Nolte carried a many-sided Elijah (Mendelssohn) down the church with the entire emotional spectrum between zealousness and doubt, passion and resignation with sovereign conviction, treating the Baal prophets at the miracle of the fire with mild irony. ..."


Potsdamer Neueste Nachrichten, 29.04.2002
"Here the count (Mozart, Le nozze di Figaro) performed by Raimund Nolte loses his countenance not just because of the escapades of the page-boy. The lisping seducer, so convinced of his irresistability loses the reigns of control more and more. Boorish is his treatment of the countess, ingratiating he is to Susanna. With such differentiated and fine singing one truly believes these two sides of his charismatic personality."


Berliner Morgenpost, 27.01.2002
"Following Elgar's concert overture came Schubert's Klavierlied "Der Doppelgänger" (The double) an inwardly-searching psychological portrait. With astonishing ease Raimund Nolte's baritone drew the audience into the sway of this nocturnal drama. The juxtaposition of orchestral music and lieder grew to a compelling climax during the evening."


Frankfurter Allgemeine Zeitung, 4.7.2001
"... Nolte conveys the unusual, new missive ( Mozart `s version of Handel `s Messiah) into the remotest corner of the hall with his strong, rounded vocal art despite the muffles acoustics. ..."


MDR-Kultur & Deutsche Welle, 4.6.2000
"The war-monger Tiridate (Handel's Radamisto) under Raimund Nolte became the social study of a modern, chichéed media Big Boss, the smart, charming and forever-grinning macho beloved of American TV serials. With brilliant vocal and theatical form he shows us a whisky-swilling mixture of Bill Clinton and Hugh Grant."


Süddeutsche Zeitung, 26.4.2000
"For rarely has the part of Jesus been sung by a baritone like Raimund Nolte, combining lied-like nobility with precision of contour."


La Opinion (Spain), 31.1.2000
"Raimund Nolte gave an unforgetable interpretation of the role of Jesus Christ with a voice of exceptionally high quality, combined with such expressivity that not merely the role but the spirit of the work echoed in Trevor Pinnock's performance"


Die Welt, 22.1.2000
"This singer commands a finely-balance warmly flowing and dramatically differentiated voice. He begins "Kriegers Ahnung" (the warrior's foreboding), the first of his chosen Schwanengesang group with the contures of menace, yet he never sacrifices cultivated deliniation of phrasing. "Ständchen" (Serenade) concludes with such a plaintive "komm, beglücke mich" (come, make me happy), that his splendid voice seemes to choke with hopelessness. He achieves truly rapturous lyrical effects through his light vocal shading and a fine mixture of head and chest voice, as for example in the delightful "Fischermädchen" (fisher-girl)"."


Opernwelt, August 1998
"Raimund Nolte, a worthy successor to the Handelian star-bass Domenico Montagnana shows himself as a commanding stylist (Varo in Handel`s Ezio) augmenting his stage persona with a sureness of effect, honed to a point of spectacular virtuosity."


Opernglas, April 1998
"As a kind of Iago Raimund Nolte's Garibaldo (Handel's Rodelinda) tugged on the reins of intrigue from behind the scenes. His firm, Verdian timbre fitted with the production perfectly."


Rheinische Post, 10.1.1996
"In an outstanding achievement the baritone Raimund Nolte's performance paid tribute to the uncanny vision behind "Billy Budd", sung with admirable maturity."


Orpheus, December 1994
"Raimund Nolte (Mauleselmann (the hinny man) – in Orff' s Die Kluge) made us sit up and listen with his very assertive yet elegant and finely–differentiated voice"


Aachener Volkszeitung, 17.10.1994
"The soloist Raimund Nolte's distinguished timbre (Bach solo cantatas) worked to give us a performance by an ideal Bach singer"