Solo Album „Songs of the Night“ (Naxos/ Capriccio)

There are recitals that capture the audience from the first song and never let go. “Songs of the Night” by Christian Miedl definitely belongs to this group, because the twenty art songs on this CD portrait have an absolutely magical effect on the listener. (DAS OPERNGLAS)

Henze: Der Prinz von Homburg, Staatsoper Stuttgart

Christian Miedl in the title role pulled all registers of his enormous abilities: He is already very convincing as an actor. He owned the staging concept and threw himself vividly into the role, which he sang and enriched with his profoundly supported baritone. (DER OPERNFREUND)

Lim: Tree of Codes – Oper Köln (World Premiere)

How Christian Miedl performs the leading role of the „Son“ this evening, can simply be called sensational.“  (DEUTSCHLANDRADIO KULTUR)

Despite its enormous vocal range, not Christian Miedl as the „Son“ doesn’t let a single phrase get out of place Christian Miedl as the „Son“ His convincing, intense acting illustrates his torture virtually paradigmatically.“ (DIE DEUTSCHE BÜHNE)


Schoeck: Penthesilea – Oper Bonn

Dschamilja Kaiser as Penthesilea and Christian Miedl: both have great voice and both are convincing actors in every aspect in a drama that can hardly be exceede in speed and fierceness“ (DIE DEUTSCHE BÜHNE)


Offenbach: La Belle Helene – Staatsoper Hamburg

High Priest Calchas is the captain of the cruiseship, and Christian Miedl showed us how great one can sing this role.“ (OPERNGLAS


Mozart: Die Zauberflöte – Badisches Staatstheater Karlsruhe

“Miedl’s Papageno is no stereotype fool.  His Papageno ist very human – he has feelings and lots of heart, sometimes funny, sometimes heartbreakingly sad, with a lot of melancholy but also a lot of humor, and often just very comical, yet always sung beautifully and with lots of colours in the spoken texts.” (Badische Neueste Nachrichten) 


Rodgers: Carousel – Theater Basel

With an incredibly softly controlled baritone voice Christian Miedl showed what a soft core lies under the hard surface of the boorish Billy Bigelow. His (especially for a musical-theater piece) gigantic, long monologue about his forthcoming fatherhood, the so-called Soliloquy,was performed in an extremely winning and touching way.“ (OPER AKTUELL)


Henze: Der Prinz von Homburg – Staatstheater Mainz

Christian Miedl convinces in the title role. Through his strong stage personality, it becomes clear in his characterization that the prince truly seems to live in a dream world. With his malleable Baritone, he masters all vocal hurdles of this role in the premiere with seeming effortlessness, delights with nuance and with the aplomb to weave empassioned outbursts into the overall arch of the production.” (OPERNGLAS)

The vocal lion’s share was undertaken by the youthfully-intense Christian Miedl as the richlynuanced performer portraying the Prince with “Mad-scene” arias of all types.” (OPERNWELT)


Tchaikovsky: Evgeny Onegin – Theater Giessen

Christian Miedl presented an uncommonly theatrically strong Onegin, convincingly bringing to life the emerging insanity that inevitably overpowers and destroys Onegin… Miedl sang a distinctive Onegin, equally balanced with lyrical moments throughout. In the finale, he made Onegin’s despair extremely vivid vocally, while always focusing his secure baritone.“ (OPERNGLAS)


Ullmann: Der Kaiser von Atlantis – Opéra National de Lyon/ Bayerische Staatsoper

Excellent baritone Christian Miedl creates an operetta Emperor recalling Charlie Chaplin’s dictator, in a stage that puts him on a conference table with a multitude of phones, flanked by two screens which are projected in black and white images of the war. (FORUM OPERA – Opéra de Lyon)

“Since the State Opera also lent its singers to the effort, vocal contributions were extraordinary among all and perhaps most noteworthy with Christian Miedl’s Emperor…” (WETA WASHINGTON – Bayerische Staatsoper)


Mozart: Le Nozze di Figaro – Staatsheater Karlsruhe

Not only because his name is on top of the cast list, I want to write first of all about Christian Miedl. The young singer, tall, fit and agile, disposes of such a perfect voice which responds effortlessly in all situations. He can give his voice colours of seduction, outrage, masculinity and erotic desire, in any volume from the softest moment to big-sounding vocal phrases. His voice is able to make any expression and, besides, still sounds so round and beautiful that one can only pursue with highest fascination the actions of this aristocrat, driven by his own demon, trying to kepp together what belongs to himself while the end of his rule closes in on him.“ (DER NEUE MERKER)


Rihm: Der Maler träumt – Amsterdam Concertgebouw (World Premiere)

Christian Miedl prooved to have a perfect baritone for the solo part – with here and there a reminiscence of Bach. (DE VERDIEPING TROUW)


Eötvös: Atlantis – Hamburg Laeiszhalle/ Festival Musica Strasbourg

Baritone Christian Miedl intones texts of the „Forgotten Voice“ from Sándor Weöres’s night-dark „Stumme Musik“ with the finest falsetto register.“ (DIE WELT)

Without effort, Christian Miedl elicits out of his baritone voice ever-returning octave jumps even up into levels of a tenor’s pitch.“ (EUROPEAN CULTURAL NEWS)