Performance Reviews
Italian Gala in Wiesbaden; Darmstädter Echo-online.
"…. Baritone Theodor Carlson was the vocal event of the evening. Outstanding quality. …. In the role of Iago, … Theodor Carlson exuded glowering, demonic baritone fierceness…. Steering his strong, rich baritone voice securely and with tonal opulence throughout his entire vocal range, he offered superbly gripping renditions of Renato's aria from Un ballo in maschera and Gerárd's monologue from Andrea Chénier."
Salome (Richard Strauss); Giessener Anzeiger
"American dramatic baritone Theodor Carlson was steady as Gibraltar in the role of Jochanaan. The raging orchestral torrents surrounding him were no match for his secure voice and strong dramatic presence; it was amazing how much true humanity emerged from behind the relatively unctuous, empty pathos of this vocally thankless role."
Rigoletto (Verdi); Mannheimer Morgen
"Contributing to the outstanding musical aspect of the evening…, Theodor Carlson offered an optically perhaps too young Rigoletto, whose substantial baritone vibrated with rich colors in every register."
Arabella (Richard Strauss); Rhein-Neckar Zeitung
"… a clearly declaimed Mandryka, Theodor Carlson rose with his sonorous lyric baritone in the course of the opera to great passion and to enormous, splendid sounding achievement."
Winterreise (Schubert); Badische Zeitung
"... especially when the message of this masterwork of romantic poetry and music is presented with such feeling and care as in the interpretation of Theodor Carlson and Bernhard Renzikowski…... It was a pleasure that ... the interpreters avoided all exaggeration, that singer and pianist held back personally and allowed the intensity of the text and music the necessary space. Theodor Carlson's baritone shined in many nuances, his thoroughly cultivated voice securely ran the gamut from sweet forlorn piano to equally intense desperation and icy coldness. He presented the poetic symbols with very controlled gestures. His association with opera was felt in a positive way."
Lazarus (Schubert); Hildesheimer Allgemeine Zeitung
"Theodor Carlson endowed Simon's aria at the beginning of the second act with breathtaking, churning drama."
Königskinder (Humperdink); Das Opernglas
"Theodor Carlson furnished his bold Spielmann with dramatic baritonal aplomb, and still had plenty of energy for the opera's finale that "fillet cut "of the role at the end, the famous Spielmann's Last Song."
The Detroit Free Press
"The Highlight was Maxwell Davies's Eight Songs for a Mad King, for Baritone and Chamber Orchestra… a real tour-de-force. Theodor Carlson handled the role with stunning virtuosity…resulting in a performance that beautifully underlined the impact of this important piece."
Zürichsee Zeitung; Il Matrimonio Segretto
"Theodor Carlson commands an amazingly, powerful, pure, supple, and rich voice."
*In 1988, Theodore Rulfs assumed the stage-name Theodor Carlson.
More reviews are available in their original languages upon request