News Flash
Concerts on Demand: Michael Schade &
Russell Braun
Listen
to Michael and Russell's performance at Roy Thompson Hall on March
28
Michael Schade..."the toast of Europe"
 A
small clarification - Baby Eva is now 15 months old and the delight
of the Schade-McKee family…Mr. Littler incorrectly suggested that
she was yet to be born.
Read
the full article here
Michael Schade and Russell Braun - FREE
lunchtime mini-recital
Join Michael and Russell for a free mini-concert
and lunch at Classical 96 FM, March 27th at noon. The performance
will be presented in front of a small, live studio audience at the
Classical 96 studio. For those at home, tune in
to 96.3 fm in the Toronto area or on www.classical963fm.com for
live streaming!
Der Meistersinger - Singers Triumph Over
the Flu!
In a recent review of the Vienna Staatsoper's
production of Die Meistersinger being filmed for release on DVD,
the Austrian newspaper Die Presse remarks on the difficulties of
casting such a difficult opera with so many viruses going around.
Read
the full article from Die Presse.
Of Michael's performance:
"Lovely Lied singing by Schade
Michael Schade's David provided a remarkable, lyric contrast to
the art of his colleague Norbert Ernst, who had saved the first
performance. Schade sings with a great line, his verses in the cobbler's
workshop are a beautiful lively climax of his interpretation."
(Die Presse, 17 January 2008)
"Grandiose and fiery" - Michael Schade to sing David in Vienna
Michael Schade will take on performances
of David in Wagner's Die Meistersinger von Nürnberg at the
Vienna Staatsoper on January 12, 16, 19, 23, 26, 2008. Conducted
by Christian Thielemann and directed by Otto Schenk, the production
will be recorded by Deutsche Grammophon for release on DVD. In order
for Michael to take on this role, the Metropolitan Opera agreed
to a special request from the Vienna Staatsoper to release him from
the initial part of the run of Il Barbiere di Siviglia. Michael
will now take on the role of Count Almaviva for the final performances
on February 14, 21, 25, 29, 2008
Michael's "impressive" Messiah
"Tenor Michael Schade, who has built
his high-profile international career on a beautiful, strong voice
coupled with powerful artistry, communicated the full drama of
every text he sang." (Toronto Star, 17 December 2007)
More reviews of Michael as Rinaldo in Armida at the Salzburg
Festival
"(Schade) is a voice of true elegance
and taste, and his character’s interior conflict was often well
portrayed vocally." (Opera Now, November-December 2007)
“Michael Schade responded to Loy’s direction
superbly. His tenor proved capable of producing handsome, virile
sounds, but what stood out was the anguish of his soft singing
in expressing Rinaldo’s torment.” (Opera,
November 2007)
“Schade...excels himself in another intricate,
psychologically driven portrayal for Salzburg, following last
summer’s Tito. The role of Rinaldo may be unrewarding to some
less congenial interpreters, but Schade made the most of it.”
(Opera Canada, January 2008)
"Brothers in Spirit" – Berlin
Duo Recital with baritone Thomas Quasthoff and Justus Zeyen, piano
(translations)
"Brothers in Spirit When baritone
Thomas Quasthoff and tenor Michael Schade step on the podium for
a duo recital, you can be sure …..that these two art song specialists
are "as one" when they perform lieder. On one side there is Quasthoff,
bringing together in a commanding fashion play and seriousness,
and on the other is Schade, indulging in vocal lines, articulating
every note of his great sound. In the opening duo lieder….they
demonstrated the careful blending ..of the individual characteristics
of their voices. In the solo part of the concert, Schade unfolded
completely his pallet of very controlled pianissimo in Mozart's
"Das Veilchen" and the silvery and rounded "fortes" in Schumann's
"Mondnacht"…… The evening ended on a very humorous tone with a
medley of Vienna songs." (Tagesspiegel, 23 October 2007)
"One does not witness an event like
this every day - a first-class duo recital. The Chamber Music
Auditorium of the Philharmonic was immediately sold out to the
last seat, which seldom happens. Solo and in duet, baritone Thomas
Quasthoff and tenor Michael Schade, expertly accompanied on the
piano by Justus Zeyen, sang lieder and duets from the classic
and romantic repertoire, culminating in a medley of Viennese songs
in praise of the Vienna Kaffeehaus, Fiaker coaches and the Prater
Gardens - everything that is dear to the Viennese and admired
by the Berliners. The rarely performed duets of Mendelssohn and
Schumann were extremely interesting. Both singers brought everything
to their interpretation. They sang to each other and not against
each other. Neither tried to outdo the other. Even in opera, duets
demand this feeling of togetherness. Quasthoff and Schade demonstrated
this in an enchanting and engaging fashion…Michael Schade lent
his friendly tenor voice to four Mozart Lieder and succeeded to
giving them the required belcanto flair." (Berliner Morgenpost,
23 October, 2007)
“Dramatic and Fiery” – Michael brings Armida’s
Rinaldo to life in the 2007 Salzburg Festival's Armida
"Michael Schade's torn performance
as Rinaldo gives the production psychological depth as well."
(Internation Herald Tribune, 7 August, 2007)
"In Act 3, Rinaldo, seated on a sofa
with a floor lamp next to it, discusses his plight with fellow
Crusader Ubaldo. And he remains there for the scene in Armida’s
magic garden, as if it were the product of his imagination. This
would have counted for less had not Michael Schade given so probing
an account of Rinaldo. As with his gripping Tito in “La clemenza
di Tito” here, he made the character’s inner struggle seem unbearable.
He can produce handsome, well modulated tones when he wants to,
but he also uses the voice to convey anguish, often through the
intensity of his soft singing. " (Musical America, 31 July,
2007)
"Above all, the extraordinary ensemble
of singers around Annette Dasch and Michael Schade, under the
sensitive musical interpretation of Ivor Bolton, convinced the
opening night audience at the Felsenreitschule.....Rinaldo (Michael
Schade) sings with a voluminous, dramatic tenor voice...."
(Suedkurier, Germany)
"...Rinaldo (as always, the grandiose
and fiery lyric tenor Michael Schade)" (Der Standard, Vienna)
"...very seldom does one encounter
at the Festspiel such an gathering of fresh, youthful, and powerful
voices. Character singers like Michael Schade and Annette Dasch
know to reach all the vocal registers, with noble phrasing and
nuances from the airiest pianissimo to most dramatic outbursts,
without exceeding the limits of bel canto." (Die Presse,
Vienna)
"Crowd-pleaser
at the Met"
"Trusting his voice and the Met's complicit
acoustics, he sent words and music into the vast house with an
easy confidence and nary a hint of pressure." (Opera Canada, Summer
2007)
An "Elegant" Don Ottavio at Covent
Garden
"Michael Schade sang both Ottavio's
arias with great elegance." (Daily Telegraph, 13 June 2007)
"Michael Schade brings presence to
the often overlooked tenor role, the long-suffering Don Ottavio....his
duet with Poplavskaya in the final front-of-curtain scene was
as good as any singing all evening." (MusicOMH, 13 June 2007)
"Don Ottavio is a frustratingly inert
character; yet has two rather wonderful arias. Michael Schade
actually managed to evince some sympathy for this rather put-upon
man and sang the arias beautifully, shaded with some lovely quiet
tones." (Classical Source, 12 June 2007)
"Michael Schade's elegant delivery
[of Dalla Sua Pace]" (Evening Standard, 12 June 2007)
"It's good to have such an emotionally
and vocally substantial Don Ottavio in Michael Schade." (London
Times, 13 June 2007)
"[Marina Poplavskaya is] well partnered
by Michael Schade's finely vocalised Don Ottavio." (The Stage,
13 June 2007)
"Exquisite tenor transports listeners to another world"
in Recital
"Schade's trim, attractive timbre
has tonal warmth and power to spare. And his communicative skill,
supple phrasing and artistry are allied to a winning personality
that made for an especially delightful afternoon. The tenor's
natural way of illuminating texts was clear in his Mozart set,
with a graceful, charming Das Veilchen and an intimate and confiding
Komm, liebe Zither, komm. His Schubert lieder were finer still.
Schade brought a forthright spontaneity to An Silvia and a golden,
beautifully floated reading of the rarely heard Ganymed. Elegant
and suffused with intense feeling, Adelaide proved extraordinary
in its expressive depth. Schade artfully darkened his tone for
the tragic Wonne der Wehmut and brought a delightfully whimsical
humor to Der Kuss." (Miami Herald,
2 April 2007)
"The evening was musically understated,
which gave Schade the opportunity to share the exquisite intimacy
of his style of singing. Every word was important, every phrase
mattered. Schade's voice is a true tenor. He sings high, with
a full voice supported by abundant breath control, with an articulate
command of the words. He then shared three of Beethoven's songs,
with the feature being "Adelaide." How exquisite! ...his shadings
were perfection itself. Likewise, the piano subtleties of Zeyen
were exceptional. It was hard to keep reminding myself I was still
in Duluth, and not New York, Vienna or London." (Duluth
New Tribune, 4 April 2007)
Mozart Arie e duetti CD wins 2007 JUNO
Michael's recording of Mozart arias
and duets with fellow Canadian superstars Russell Braun and Isabel
Bayrakdarian won the 2007 JUNO in the category of Classical Album
Of The Year: Vocal or Choral Performance.
Michael Schade named a Kammersänger
Tenor Michael Schade has been named
the newest Austrian Kammersänger - the highest award a singer can
receive in Austria. The official ceremony took place ion March 27,
2007. Michael and soprano Adrianne Pieczonka (who was also invested
the same day) are the first Canadians to be given this honoured
title.
Originally bestowed by the royal courts,
the title "kammersänger", or chamber singer, is given by the Austrian
and German governments to distinguished singers who have made significant
careers in Austria or Germany. On the recommendation of Ioan Holender,
Director of the Vienna State Opera, Michael joins an illustrious
list of "kammersängers" including Fritz Wunderlich, Edita Gruberova,
Richard Tauber, José Carreras, and Placido Domingo.
Michael has appeared on the stage
of the Vienna State Opera over 150 times
Michael has New Yorkers "Smitten With Lieder"
"Mr. Schade's singing style echoed
the selection process of his concert. Words came first with scenes
acted out in singing and shades of mood minutely observed. His
head voice is where most of the sound resides. The timbre is brightly
lighted and strong, well suited to Mozart, for example, and to
the musical era before powerful chest tones became more important.
The singing was intense and intelligent and benefited from Malcolm
Martineau's scrupulous piano playing." (New York Times, 8
March 2007)
"Anyone smitten with lieder should
have been at Zankel Hall on Tuesday night. More than once, I have
called him "a Wunderlich of our times"...and he has earned it.
He is a confident singer, and has a lot to be confident about.
The voice is beautiful - sometimes unbelievably beautiful - and
the technique is well honed. Mr. Schade just about never pinches,
never strains. ...he sang "Die Nacht," hugging the line - the
melodic line - superbly" (New York Sun, 8 March 2007)
Mozart Arie e duetti CD Nominated for a 2007 JUNO
Michael's recording
of Mozart arias and duets with fellow Canadian superstars Russell
Braun and Isabel Bayrakdarian received a 2007 JUNO nomination in
the category of Classical Album Of The Year: Vocal or Choral Performance.
The JUNO Awards will
be handed out on March 31 and April 1, 2007. Check back then for
news!
Spend half an hour with Michael Schade in Vienna
Bravo! recently travelled
to Vienna to speak with him about his career, life and why he adores
the Austrian capital.
Catch Michael on Bravo!'s Arts & Minds January
27th, 2007 at 6pm ET / 3pm PT
If you miss it or just want to see it again,
catch encore presentations on
January 28 at 7pm ET / 4pm PT & January 31 at 7:30pm ET /
4:30pm PT
Recent Press Accolades
“Dramatic and Fiery” – Michael brings Armida’s
Rinaldo to life at the 2007 Salzburg Festival
"Above all, the extraordinary ensemble
of singers around Annette Dasch and Michael Schade, under the sensitive
musical interpretation of Ivor Bolton, convinced the opening night
audience at the Felsenreitschule.....Rinaldo (Michael Schade) sings
with a voluminous, dramatic tenor voice...." (Suedkurier, Germany)
"...Rinaldo (as always, the grandiose
and fiery lyric tenor Michael Schade)" (Der Standard, Vienna)
"...very seldom does one encounter at
the Festspiel such an gathering of fresh, youthful, and powerful
voices. Character singers like Michael Schade and Annette Dasch
know to reach all the vocal registers, with noble phrasing and nuances
from the airiest pianissimo to most dramatic outbursts, without
exceeding the limits of bel canto." (Die Presse, Vienna)
"Crowd-pleaser at the Met"
"Trusting his voice and the Met's
complicit acoustics, he sent words and music into the vast house
with an easy confidence and nary a hint of pressure." (Opera
Canada, Summer 2007)
A remarkable recital by a Canadian master
"Schade's trim, attractive timbre
has tonal warmth and power to spare. And his communicative skill,
supple phrasing and artistry are allied to a winning personality
-- with wry and witty verbal program notes -- that made for an
especially delightful afternoon...Let's have this extraordinarily
gifted singer back soon." (Miami Herald, 2 April, 2007)
A superb Idomeneo at
the Theater an der Wien
"He creates the part not as an artifact
but helps the character of the king to come alive with almost
maniac intensity. This nobility is due to the grace of his timbre.
Not a trace of boyish castrato singing, but Schade's voice transmits
natural manhood with bravura security, even in the highest tessitura."
(Der Standard, 19 January 2007)
"The allegedly world-best Mozart Tenor
sings even the very difficult original version. Particularly the
famous aria "Fuor del Mar" with its expanded coloraturas is known
to be neck-breaking and it is avoided by mot singers." (Der
Bregenzer, 17 January 2007)
"Michael Schade succeeds in singing
Idomeneo's central aria "Fuor del Mar" with all the neck-breaking
coloraturas of the original version. This brings the performance
to extreme density and combines vocal acrobatics with extremely
deep feelings, a paradox which is the ultimate goal of opera."
(Die Presse, 20 January 2007)
"Idomeno is ideally cast with Michael
Schade, who sings the original version with all its coloraturas,
never totally technical, but the touching depth of this saddened
broken king." (Der Kurier, 19
January 2007)
"When Schade sings his tenor coloraturas
these are not just ornaments but convince (the audience) of his
rage. Once more Schade proves himself as an extremely important,
if not the most brilliant Mozart tenor." (Kronenzeitung,
19 January 2007)
Michael Schade opened in Arabella at the Vienna Staatsoper
to great acclaim
"Even a broken foot sustained a few
days before the premiere couldn't hold Michael Schade's unyielding
enthusiasm at bay, and the Canadian–German tenor poured his heart
out as Matteo.” (Opera News, March 2007)
"Michael Schade
as the loving feverish and desperate Mateo leaves no wishes undesired."
(Die Krone)
"Michael Schade
is simply the very best Mateo that you could even imagine!"
(Osterreicher)
"Michael Schade
leaps accross the stage despite his leg being in a cast and is
simply a sensation!" (Kurier)
Michael Schade's recording
of Mozart's Zaide is now available on Deutsche Harmonia Mundi
"Mr. Harnoncourt also has an excellent
cast of singers (who use their own original instruments). When
he needs a tenor, he almost always turns to Michael Schade, proving
that this conductor is no dummy: Mr. Schade is a supreme singer,
particularly in Mozart." (New York
Sun, 5 September 2006)
"Tenor Michael Schade is his usual
elegant self as Gomatz." (Guardian,
25 August 2006)
Orlando Paladino recording also available on Deutsche Harmonia
Mundi
"Schade exploits an enviable spectrum
of colors, from limpid pathos to bracing virility." (Opera
News, October 2006)
"The cast is uniformly wonderful,
with Schade making the most of his wide dramatic range to fuel
Orlando's inner demons." (Toronto Star,
3 August 2006)
"Michael Schade's Orlando is sung
with big tone and just the right berserk edge. This new version
is a must-have." (Classics Today, June
2006)
A tormented and triumphant Tito in Salzburg
"I have run out of ways to praise
Mr. Schade's singing, particularly his Mozart singing, but let
me mention this: It's amazingly easy. I once heard Leontyne Price
praise a singer by saying, "For you, it's like falling off a log."
So it is for Mr. Schade, seemingly. In the Felsenreitschule, he
displayed marvelous lyricism and complete technical control. And,
theatrically, he was every inch the insanely clement Tito."
(New York Sun, August 18, 2006)
"Michael Schade presents Tito as a
psychopath, a man guided morbidly by his clemency. The conductor
permits Tito many soft and lyrical moments, but heroic brilliance
and sovereign coloraturas are always sung when demanded by the
score." (Merkur, August 18,
2006)
"'Takeaway my empire but give me another
heart', sings Titus. I am not here to hate, but to love... Michael
Schade (as Titus ardent and convincing) seems to open his tormented
soul almost to insanity. This results in an unbelievable wake
during this extraordinary production." (Der
Standard, August 18, 2006)
"This is the story of an incalculable
emperor , which Michael Schade represents with beautiful singing
and scary coloraturas. Even when he caresses someone you feel
he could turn to the opposite momentarily. The proverbial clemency
is a psychosis." (Die Presse,
August 18, 2006)
"Even stronger than at the premiere
(2003), the focus rests on the emperor Titus (resolved to be forgiving),
whom Michael Schade portraits in scary fashion. At the end of
his empire he wants to forgive and to pardon, in particular also
himself." (Salzburger Nachrichten,
August 18, 2006)
"Ideal casting of the characters.
The fact that Michael Schade plays the gracious emperor guarantees
'niveau'. He represents Tito as a tormented character between
legato sweetness and morbid undertones." (Wiener
Zeitung, August 18, 2006)
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Last Updated:
April 21, 2008
© 2000 Moira Johnson Consulting,
All Rights Reserved
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