On the performance of Haydn’s Jahreszeiten with the Runfunk Sinfonieorchester Berlin:
Dietrich Henschel, with the maturity of his experience and high vocal presence sung in every moment…
Der Tagespiel, Sybill Mahlke, 25 June 2019
On the world premiere of ‘Schlagt Sie Tot!’ at the Malmo Opera
Dietrich Henschel, with his bass baritone, succeeds in portraying all of Luther’s sides: violence, charisma and morality.
Sveriges Radio, Jan Wieslander, 11 May 2019
It is a strong portrait, and at the premiere in Malmö, Luther was portrayed with charisma and striking vocals by one of Germany's foremost character baritones, Dietrich Henschel.
Aftonbladet, Lennart Bromander, 13 May 2019
On the world premiere of Peter Ruzicka’s “Benjamin” at the Hamburg State Opera
Baritone Dietrich Henschel was a credible and direct Benjamin, both in terms of his acting and his immaculate vocal performance. In every second of this densely conceived production, he brought both a depressive emptiness and an abundant exuberance to the stage: a godsend for the production.
Spiegel Online, Werner Theurich, 4 June 2018
An excellent ensemble of singers was assembled for the world premiere, above all baritone Dietrich Henschel in the expressive title role.
NDR Kultur, Elisabeth Richter, 4 June 2018
Dietrich Henschel, often compared with Fischer-Dieskau, brings a powerful intelligence to his singing but, in text-focused Lieder like Wolf’s, is very much his own man.
Gramophone, James Jolly, 14 February 2017
Hugo Wolf Lieder at The Wigmore Hall with Angelika Kirchschlager and Julius Drake
Hugo Wolf doesn't get better than this…Henschel's ability to absorb himself totally in what he sings, meanwhile, and to give the impression of living the music rather than performing it, resulted in matchless accounts of Grenzen der Menschheit and Prometheus… One of the great recitals, and absolutely outstanding
Guardian, 8 January 2013
Zimmermann: Ecclesiastical Action & Brahms German Requiem – London Philharmonic Orchestra
Dietrich Henschel sang like a man possessed, making for an unforgettable performance.
Guardian, 02 December 2012
It had majestic moments, and Henschel’s powerful solos contrasted beautifully with Miah Persson’s ethereal soprano.
Times, 02 December 2012
War Requiem – Dallas Symphony Orchestra
The "most beautiful voice on the stage" award has to go to German baritone Dietrich Henschel. His performance of Owen's dismal poetry was mesmerizing.
TheaterJones, 09 November 2012
German baritone Dietrich Henschel supplied vivid and eloquent declamation, in tones alternately powerful and poignant.
Dallas News, 10 November 2012
Recital - Edinburgh Festival
Baritone Dietrich Henschel is a towering figure, physically, intellectually, musically and theatrically.
His prowess as an interpreter is extraordinary. And his ability to characterise a song through sheer acting as much as singing resulted in a recital of consummate intelligence, fuelled by a voice where beauty of sound is almost a secondary consideration to penetrating and revealing the nuances and implications of a text.
Herald Scotland, 28 August 2012
German baritone Dietrich Henschel’s EIF recital was a pretty dark affair. But it was riveting from start to finish, his compelling and often highly theatrical interpretations partnered superbly by the subtle yet commanding playing of Edinburgh-born pianist Steven Osborne.
Scotsman, 28 August 2012
Oedipe – La Monnaie
Dietrich Henschel in the marathon role of Oedipus still makes music where others would simply go through the motions.
Financial Times, 24 October 2011
Il mondo della luna - Theater an der Wien – DVD review
Henschel’s muscicianship carries him far, especially in a colourfully onomatopoeic aria expressing wonderment at the Moon’s sylvan delights
Opera, July 2011
Wolf: Mörike Lieder – CD review
Henschel, as always, values emotional veracity over tonal beauty, and takes us to the outer limits of experience in songs such as Der Geuerreiter and Der Genesene and die Hoffnung.
Guardian, 12 August 2010
Monteverdi: L’Orfeo – DVD review
The subtlety of Henschel’s acting matches the complexity of his vocal characterisation so that, by the end, you not only feel you’ve been taken on a vast journey from joy to grief and back again, but also believe that Orfeo’s own music really has the power to affect both gods and nature.
Guardian, 11 December 2009
Il mondo della luna - Theater an der Wien
the charisma of his cast, especially by Dietrich Henschel’s athletic Buonafede,
Financial Times, 10 December 2009
Schubert: Schwanengesang - CD review
enschel is never less than elegant, virile and intelligent. He is at his best in the lyrical Liebesbotschaft and Ständchen,
Telegraph, 11 August 2009