Reviews

The Magic Flute, Hong Kong:

"Paul Armin Edelmann's hilarious Papageno had the audience eating out of his hand, and his singing was distinguished by deep firm tone and impeccable control. In their tender Act One duet, he and Huang Ying's exquisitely lyrical Pamina gave an object lesson in singing Mozart." (Natasha Rogal, South China Morning Post, November 10, 2009)

Don Giovanni, Dublin, Ireland:

"Standing out from the rest of the ensemble is Paul Armin Edelmann, whose performance as Don Giovanni features both a polished delivery and a timbre both virile and manly; displaying both dramatic and vocal agility in a most attractive title performance." (Opernglas, May 2009)

"Dublin recently witnessed the debut of a new "Don Giovanni" from Austria. Paul Armin Edelmann, recognised as a first-class new singer since his 2007 'Christmas in Vienna' appearance alongside Elena Garanca, took on one of the most demanding opera roles and proved he was ideally cast. This stylish charmer has all he needs to make women weak at the knees - he flatters, he radiates joie de vivre, he struts like a rooster, he's got a sense of humour; and he trumps it all with his velvet baritone voice." (Peter Dusek, Oesterreichischer Tageszeitung, April 2009)

"The opera stage has set a new standard for "Don Giovanni"! Those who saw the last 'Christmas in Vienna' concert, where Edelmann performed superbly alongside Elina Garanca and Juan Diego Florez, won't be surprised by the huge success of the new Don Giovanni in Dublin. If you want drama, then this seducer's voice flatters and entices from the outset: he sings the serenade like a Schubert lied, the champagne aria like a pop-song, and holds that high A in the finale. When it comes to "that certain something," performers either have it or they don't - and Paul Armin has it in abundance!" (Peter Dusek, Der Neue Merker, April 2009)

"The visual and auditory wonder of Elina Garancia's radiant Mezzo voice harmonised beautifully with the melting voice of tenor Juan Diego Florez, and equally so in every way matching all of them the baritone voice of Paul Armin Edelmann and the brilliantly lyrical voice of Genia Kühmeier." (Peter Dusek, Der Neue Merker, Jänner 2009: über "Christmas in Vienna 2008")

"As regards Danilo, [Edelmann] is not just a very handsome man, but a handsome Viennese. He makes you really believe in his portrayal of Danilo. With his soothing and refreshing baritone voice, he not only wins the heart of 'Hanna' but also the hearts of all the audience members." (Elke Baliarda, Galler Nachrichten, January 8, 2009)

"Paul Armin Edelmann, singing 'Count Danilo' is vocally a special performer who not only sings with a round, full, bright timbre, but takes you in from the first moment he sings the opening aria for this leading part." (Martin Preisser, Südkurier, December 24, 2008)

"'Count Danilo', 'Hanna Glawari''s old flame, projects the right combination of youthful recklessness and full bodied baritone timbre. He gives the 'good-for-nothing' character charm and passion." (Bettina Kugler, St. Galler Tagblatt, December 22, 2008)

Die Zauberflöte (W.A. Mozart), Wiener Volksoper: "The 'Papageno' of Paul Armin Edelmann, son of legendary baritone Otto Edelmann, was the sole saving grace of the performance. The younger Edelmann's voice has a beautiful sheen, like a bass clarinet, and he uses it well. " (Larry L. Lash, Opera News, March 2006)

Liederabend Allegro Vivo - Festival: "In an exquisite, intimate setting, baritone P. A. Edelmann sang early Schubert songs, accompanied by the delicate fingers of Barbara Moser at the piano. Here is a singer not to be missed: Edelmann's youthful baritone has a particular beauty and warmth, and he is an especially charming interpreter of ardent springtime mood and melancholy yearning. Later he sang Tosti and Respighi, and as in the Schubert, the total commitment of the artist was a pleasure as his elegantly-balanced, agile voice matched song to text." (Traude Steinhauser, Der neue Merker, 2005)

Recital, ACF New York, New York City: "...Paul Armin Edelmann is a high baritone or perhaps "baritenor", usefully for his burgeoning operetta career -- with the ability to float high-flying phrases. He boasts sterling diction and a forthright approach to text. Edelmann sang Wolf (Three Songs to Poems by Michelangelo), enjoyably done) and Schubert: "Musensohn" blended youthful exuberance and fresh tone with particular aptness. ...His is a genuinely attractive voice; given his enthusiasm and charm, one sees why Frankfurt and San Diego have signed [Edelmann] for Papageno." (David Shengold, Opera News Online, December 2004)

Die Zauberflöte (W.A. Mozart), Oper Frankfurt: "Paul Armin Edelmann's "Papageno" was mimetically, dramatically and vocally outstanding." (Christian Rupp, Offenbach Post, Nov. 2004)

"The Vienna State Opera has a new Papageno; Paul Armin Edelmann made a brilliant debut. He captured the audience with his well-trained, resonant voice that was up to any transformation, and his infectious acting talent made his performance thoroughly entertaining without ever becoming pushy. We should watch to see what this charismatic artist will be up to next." (Der Merker)