The highlight of the evening [...]. Incredibly sympathetic and warm-heartedly performed with youthful charm, [Bode] sings Freddy with a gorgeous, supple tenor, wonderfully modulating between delicate piani and powerful fortissimi that go straight to the hearts of the audience., Hildegard Wiecker, 7 January 2020

When the tenor Simon Bode comes onstage as Freddy, Eliza’s admirer, the music became magnificent. Bode's voice radiates a charisma and intensity that requires no reinforcement., Sarah Schnoor, 6 January 2020

The discovery of the evening is the young tenor Simon Bode. In his supporting role as Eliza's admirer Freddy, he shows a flair for the Broadway sound, drawing out the melodic lines with a flourish while also proving he’s earned his operatic credentials with Mozart.
Hamburger Abendblatt, 1 January 2020

Tenor Simon Bode delighted with Vaughan Williams's cycle "On Wenlock Edge," a highlight of lieder singing.
Hamburger Abendblatt, 21 October 2019

Anna Palimina and Simon Bode both produce gorgeous legato lines, which blend lyricism with a tinge of sadness … Occasionally, you listen to a piece of music and come away with the feeling that you have discovered a rare treasure which deserves to be known much more widely. That is certainly the case with these cycles. The performers are all to be commended for the exceptionally high quality of the singing and playing., Robert Beattie, June 2019 – about the Schumann-CD with songs from „Minnespiel“, „Spanisches Liederspiel“ and „Spanische Liebeslieder“, NAXOS 8.573944

Simon Bode’s repertoire choice was unsual and was delivered by such commanding mastery that no future appearance should be missed. Here is a singer with the gift of a beautiful voice and confident stage presence.
Serenade Magazine, Fareed Curmally, 30. April 2019 - on a song recital at Wigmore Hall London

It’s rare to hear this cycle performed with such gripping immediacy […] with such attention to the text, such clear articulation by this tenor from Hamburg. […] Bode firmly but never forcefully conveys the shifting emotions of this ultimately doomed paramour in a clear, powerful, bright-to-the-core voice, with a broad array of colours, gleaming high notes, subtle lyricism and an elegant pianissimo.
Bayerische Staatszeitung, Renate Freyeisen, 12. Juli 2018 - on Die schöne Müllerin at Kissinger Sommer

Another reason for the premiere’s resounding musical success is the young singer Simon Bode. A highly cultivated lyric tenor with exemplary pronunciation, he was perfectly cast not just vocally but also has a formidable and thrilling stage presence.
Darmstädter Echo, October 2017 - on Eine Winterreise at Staatstheater Wiesbaden

…A stellar evening of artful singing…
Frankfurter Neue Presse, August 2017 - on  Die schöne Müllerin at the Rheingau Musikfestival

Equally astonishing is the tenor voice of Simon Bode (Orfeo), who effortlessly lends clear yet nuanced shading even to the highest registers of his nimble voice.
Göttinger Tageblatt, June 2017 - on Haydn‘s Orfeo at International Händel-Festival

Of special mention is the German tenor Simon Bode, with an incredibly warm timbre as Don Ottavio., January 2017 - on Don Giovanni at Theater Basel

There were outstanding performances from Kiandra Howarth … and Simon Bode, who was touching in the role of Ottavio, shaping his arias into delicate, soaring declarations of love.
Badische Zeitung, January 2017 - on Don Giovanni at Theater Basel

Louise Alder and Simon Bode strike sparks of each other as the young bohemiens…
Gramophone Magazin, 2017 - on Der Graf von Luxemburg-Oehms Classics

For the full two hours Bode remains clear, present and free in the high demands of the piece-an exceptional singer and -evangelist!
Wiesbadener Kurier, April 2016 - on St. John’s Passion

Political music theatre lives on! Simon Bode is not only equipped with a melodious and effortlessly lyrical tenor, but has a mesmerizing gift for performance, Ursula Decker-Bönninger, 2015 - on Der goldene Drache

Simon Bode … is already an aristocrat in Mozart Style- a name to be watched. I haven`t enjoyed an ‘Entführung’ as much in decades…
Opera Magazine, Hugh Canning, 2012 - on Die Entführung aus dem Serail at Oper Frankfurt

…Bode’s performance of another Wolf favourite, An eine Äolsharfe, is sung with masterly legato…
BBC music magazine, January 2012 - on Brahms - The complete songs Vol.3, Hyperion Records

His tone is crystal-clear, his phrasing always thoughtful…the haunted and little-known „Lerchengesang“ brings one of the loveliest performances…“Wiegenlied“ is a dulcet as you can wish…
Gramophone, Richard Wigmore, February 2012 - Brahms - The complete songs Vol.3, Hyperion Records