G. F. Handel: Saul, Festival Beaune, conductor - Leonardo García Alarcón

Dominant tout l’ouvrage, Christian Immler est Saül, qu’il vit avec une intensité singulière. Tout est là pour ce rôle périlleux, où le roi, imbu de son pouvoir, jaloux, rageur, calculateur, sombre dans une folie meurtrière : voix sonore dans tous les registres, bien timbrée, projetée à souhait. Son engagement dramatique est exemplaire. Qu’attend un producteur pour le mettre en scène ?

Dominating the whole work, Christian Immler is Saul, whom he lives with singular intensity. Everything is there for this perilous role, where the king, imbued with his power, jealous, angry, calculating, stews in a dark and murderous madness: the voice is sonorous in all registers, well calibrated and projected at will. His dramatic commitment is exemplary. What more is a producer waiting for to put it on stage?

Classiquenews, Albert Dacheux, July 2019

J. S. Bach, St. Matthew Passion, Madrid, conductor - David Afkham

Of the soloists, the highlight was Christian Immler, with noble timbre, even, frank delivery, warm phrasing, who presented a peerless Jesus.

La Razon, Arturo Reverter, February 2018

F. Mendelssohn: ‘Elias’, Gewandhaus Leipzig, conductor - Masaaki Suzuki

Christian Immler legt seinen Elias mit den Tönen Mendelssohns von der Menschlichkeit her an ... Ein grandioses Rollenporträt ...Eines, das einen Menschen zeigt und keine Marmorstatue. Eines, das aus Gesang gezeugt ist, nicht, wie so oft, aus Gebrüll. Eines schließlich, dass sich perfekt einfügt in die musikalische Dramaturgie Masaaki Suzukis.

Christian Immler fashions his Elijah based on humanity ... A magnificent role portrait ... One that shows a man and not a marble statue. One that is conveyed through song, not, as so often, through shouting. One, finally, that perfectly fits into the musical dramaturgy of Masaaki Suzuki.

Leipziger Volkszeitung, June 2018, Peter Korfmacher

C. M. v. Weber: Freischütz, Theater an der Wien, conductor - Laurence Equilbey

... Christian Immler was an appropriately omniscient mystic who also boomed the voice of Samiel over spectral amplification in the bullet-forging scene. “Er oder du” could have been Verdi’s Grand Inquisiteur. Bringing hermetic wisdom to determine Max’s fate, “Wer legt auf ihn so strengen Bann?” had dramatic gravitas with a resonant low B-flat. The Sarastro-like “Leicht kann des Frommen Herz” monologue had a Talvela-ish low A-natural and the fortissimo “Wer höb’ den ersten Stein wohl auf?” was redolent of Jim Bakker televangelist hectoring.

Operawire, Jonathan Sutherland, May 2019

Handel: La Resurrezione - Boston Early Music Festival

... an excellent performance of Handel’s early oratorio “La Resurrezione”: Karina Gauvin as the Angel and Christian Immler (a devilish Plutone in Campra’s underworld) as Lucifer.

The New York Times, James. R. Oestreich, June 2017

Bach: CD Trauermusik - Ensemble Pygmalion, conductor Raphael Pichon

... On décernera enfin une mention spéciale au baryton Christian Immler, au timbre frais et chaleureux et à la voix d’une grande ductilité, qui rappelle les plus grands.

... Finally, baritone Christian Immler deserves special mention, with a clear and warm tone, a voice of great malleability, reminiscent of the greatest.

Forum Opéra, Julien Marion, 2014

W. A. Mozart: Die Zauberflöte/The Magic Flute - Dijon Opera, conductor Christophe Rousset

... Christian Immler est un orateur impressionnant, animé, juste, puissant.

Forumopera, Yvan Beuvard, March 2017

W. A. Mozart: Requiem, Seine Musicale Paris, conductor - Laurence Equilbey

Matching him was the bass Christian Immler (who I last saw in March as Hermit/Voice of Samiel in the Insula Der Freischütz in Aix), superbly strong in the ‘Tuba mirum’

Seenandheard, Colin Clarke, June 2019

CD ‘Swan Songs’: F. Schubert, J. Brahms, S. Barber, L. Bernstein

with Christoph Berner, Danny Driver, Silvia Fraser and Anna Stéphany

Der Bariton Christian Immler zeigt sich in diesem vielseitigen Programm als ein in technischer, musikalischer und stilistischer Hinsicht mit allen Wassern gewaschener Interpret. In den bekannten Zyklen von Schubert und Brahms braucht er sich hinter den bedeutendsten Künstlern der Vergangenheit nicht zu verstecken. Die Stimme ist männlich markant, bassig geerdet und zu tenoralem Glanz fähig, die Diktion ist mustergültig, man versteht tatsächlich jedes Wort. Emotionale Dringlichkeit verbindet sich mit intellektueller Durchdringung der Textinhalte.

The baritone Christian Immler shows himself in this varied programme to be a technically, musically and stylistically consummate interpreter. In the familiar Schubert and Brahms cycles, he has no need to hide behind any previous great artist. His voice is strikingly masculine, bass-grounded yet capable of tenoral splendour, the diction is exemplary, one can indeed understand every word. Emotional urgency is coupled with a deep intellectual understanding of the text.

Klassik heute, Ekkehard Pluta, April 2019

CD ‘Modern Times’ with Helmut Deutsch - ‘An Absolute Must-Know’ (***** 5 stars)

Immler’s singing could easily hold its own in strict Belcanto terms. The artist is so convincing, above all through the sculpted text-relatedness of his interpretations, that one would be inclined to rank him with the likes of Dietrich Fischer-Dieskau, Dietrich Henschel or Christian Gerhaher. Immler’s stylistic breadth is impressive, his theatrical temperament inspiring, and all supported by the pianistic sovereignty of Helmut Deutsch.

Fono Forum, Christoph Zimmermann, January 2012

This recital should propel Christian Immler – onetime alto in the Tölzer Knabenchor, sublime in the St John Passion conducted by Harnoncourt in 1985 – to the first ranks of his generation’s lieder singers… His superlative diction and the remarkable malleability of his line unite to offer an expressive, precise and unique contour to each song… In the Grosz and Eisler Ballads, he releases even more of his declamatory rhetoric and displays the full extent of his theatrical temperament…by all accounts, Helmut Deutsch also has a heck of a good time!

Recital: Schubert, Beethoven, Haydn, Mozart with Kristian Bezuidenhout - Paris

... Le programme le plus ambitieux est sans nul doute celui de Christian Immler. ... Il assume ce programme avec une voix chaleureuse et solide : une éloquence de prophète, pourrait-on dire, qui va bien avec ce programme. Il présente dans un excellent français ses bis : pourquoi diable personne ne lui a-t-il proposé Golaud ?

Resmusica, Dominique Adrian, January 2017