News Flash

Michael Schade returns to the 2008 Salzburg Festival:

Here is a selection of Photos as he has appeared in Festival productions in recent years.

Annette Dasch (Armida), Michael Schade (Rinaldo) in Armida 2007 © Monika Rittershaus

Michael Schade (Tito), in La Clemenza di Tito 2006 © Hans Jörg Michel

Markus Werba (Papageno), Michael Schade (Tamino), Edith Haller, Karine Deshayes, Ekaterina Gubanova (Three Ladies) in Die Zauberflöte 2005 © Hans Jörg Michel

Michael Schade in King Arthur 2004© Clärchen Baus-Mattar & Matthias Baus

Michael Schade (Tito), Vesselina Kasarova (Sesto) in La Clemenza di Tito 2003 © Hans Jörg Michel

Michael Schade, Anna Netrebko in Don Giovanni 2002 © Hans Jörg Michel

Michael brings drama, power and tenderness to " Die Schöne Müllerin" at the Styriarte Festival in Graz

Souls mirrored in Sound "...Michael Schade is obviously less concerned about the shallow romanticism of the life at the Mill, as he interprets the drama of this soul going through unfulfilled love, tremendous will to live, disappointment, powerless rage and eventually resignation and death.

It is amazing how the tenor leads us through this story of a suffering soul as a dramatic entity. He does not give in to the temptation of frequently-heard vocal mannerisms. As he keeps his voice mainly at a "chamber-musical" level, he is able to give the sound room and transparency. However, he explodes in revolt and sometimes even aggression when anger and desperation take over. When Schade keeps his voice back, tender as a breeze, like in the five verses of the last Lied, ...he demonstrates what singing Lieder in the purest form is all about: A mirror of the soul.

The great Wolfram Rieger at the piano offers much more than accompaniment, but he is an equal, a creative partner, who is able to react to every variation of the singer's vocal colouring." (Der Standard, 17 July 2008)

Michael charms as Flamand in the Vienna State Opera's new production of Richard Strauss's Capriccio.

"Michael Schade can plausibly personify music itself, shaping his lines with seductive complexity and polished beauty." (Financial Times, 19 June 2008)

"Triumph at the Opera. A huge success for singers, the conductor and the director. One of the most beautiful performances in recent years. ...the ensemble Adrian Eroed, Angelika Kirchschlager, and the elegant Michael Schade and Bo Skovhus are excellent. Renee Fleming enchants with her presence and her vocal timbre…" (Wiener Zeitung Vienna, 12 June 2008)

"Perfect- Richard Strauss at the State Opera ...all roles are ideally cast….Michael Schade is an enchanting, romantic Flamand, whose sweet piano fills the hall…" (Kurier, 12 June 2008)

"An opera about opera ...in this production a stroke of luck of the highest order. .. an ensemble that cannot be better or more harmoniously cast… Renee Fleming the great star, but Michael Schade and Adrian Eroed , right behind, superbly acting and vocally engaging. They fill their roles with life in their difficult singing duties…an incredible success ...20 minutes of applause… " (OÖ Nachrichten, 12 June 2008)

"…the ensemble, cast as "Viennese" as possible with Angelika Kirschschlager, Bo Skohus, Michael Schade and Adrian Eroed was the ideal backdrop for Renee Fleming as Countess…" (Welt online, 10 June 2008)

"...Singing without pressure and in conversational style: the excellent tenor of Michael Schade and the warm baritone of Adrian Eroes…" (NZZ onIine, 9 June 2008)

"Capriccio, seldom has a premiere been so excellently cast and produced with so much taste. …it needs singers like Adrian Eroed and Michael Schade who are capable of picking up the clues given to them by the superb orchestra…" (Die Presse, 8 June 2008)

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)

Michael Schade featured in OPERA NEWS, January 2008 (PDF)

"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: July 17, 2008

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