How well one can follow the train of thought through the interludes and stanzas, thanks to the wealth of detail with which he relates these little stories through song; art of the highest order.
FAZ, Guido Holze, 08/04/2019 - on songs after Heine from "Schwanengesang"

This a quite a superlative recording that meets the desires and wishes of any Baroquophile on the quest for excellence (…) The music simply washes over you with a purity and quality many seek to match.
Early Music Review, David Bellinger, 03/06/2018, on the CD “Cantatas for Baritone” with Vox Orchestra, Sony 19075834122

Both artists brought deep insight to their roles, combining beautifully in sound and spirit, and creating no end of poignant moments.
NY Times, James R. Oestreich, 23/02/2018, on “Winterreise” with Julius Drake

His voice maintains its dark, almost baritone-like lower range, and a top that can float with the utmost delicacy in soft passages.
Chicago Classical, John Y. Lawrence, 19/2/2018 on the recital of “Poetic Diary” with Julius Drake

A great interpreter, Christoph Prégardien sees the work first, then himself.
Westdeutsche Allgemeine Zeitung, Nina Schröder, 20 January 2017

Prégardien's artistry is streamlined, focused, essential: with beauty of tenor tone absolutely intact - he is 60 - diction impeccable, emotions of text and tone fused and explored to the last degree, he is the consummate Lieder singer. (…)  He brought splendour, agony and ecstasy to Mahler's Lieder eines Fahrenden Gesellen first; bitterness, irony and a heady intelligence to Schumann's Dichterliebe in the second half; and those Schubert Heine settings in between are still alive and reverberating with wonder and horror somewhere in my subconscious several days on. You want it darker? Try Schubert., Jessica Duchen, 18 November 2016

The tenor is a storyteller who avoids mannerisms: no reverb, little vibrato, no preoccupation with nice sound. However, he is constantly audible, and he does not avoid the risk. In the highest registers he also has an astonishing resilience, as demonstrated in almost hummed encore Mondnacht. British accompanist Julius Drake showed a sensitive ear for detail. In the perlentränentröpfchen, the death coffin is nailed: they were all audible in the Steinway.
De Volkskrant, 20.11.2015 about the CD “Poetisches Tagebuch“ released on Challenge Classics in November 2015

Much of what Prégardien did was a revelation, with such immaculate diction and attention to each musical detail that the audience hung on every word. The four songs of Mahler's Lieder eines Fahrenden Gesellen, so often presented as expressions of youthful self-pity, became a genuinely dramatic scenario, the tragedy searingly convincing. (…) This was Lieder singing of the very highest class.
The Guardian, Andrew Clements, 2 November 2015

(...) Prégardien’s acute, concentrated response to every detail of every song was a wonder in itself.
The Guardian, 2 March 2015