“In contrast to some other “celebrities” of the genre Koopman and his Amsterdam circle do not favour sharp contrasts, but rather a subtle, cultivated clarity. For them the music is more about being finespun and “breathing”. The majority of the soloists followed this principle with an audible consensus: tenor Nils Giebelhausen as the evangelist, bass Klaus Mertens and mezzo-soprano Franziska Gottwald impressed the audience with their diffusion of their individually tainted examples of distinction.” Oberösterreichisches Volksblatt, 11.12.2019 (J.S. Bach, Wehnachtsoratorium 1-3,6

“The role of the evangelist is hugely demanding, and you rarely hear it sung with such abandon. Nils Giebelhausen demonstrates a huge reserve of emotional intimacy and leads us in the most enthralling way through the Passion story, with both clear and natural diction.” Die Glocke, 22.4.19 (J.S. Bach, Matthäuspassion)

“The evangelist Nils Giebelhausen breathed life into the unfolding event with great creative ability. He performed the arias with a solid technique and mellifluousness of sound.” Ruhrnachrichten, 12.4.19 (J.S. Bach, Johannespassion)

“The approach of the five soloists, to fathom the depths of the poetic phrase in conjunction with music, naturally placed the greatest demands on Nils Giebelhausen as the evangelist. He has long established himself as an ideal tenor for this role - and he was again this time.” Westfälische Nachrichten, 1.4.19 (J.S. Bach, Matthäuspassion)

“The tenor has the big solo role, and Nils Giebelhausen’s rendition was impressive. Engendering a captivating pithiness, both vocally and verbally, he was a true stroke of luck for this performance.” Cuxhavener Nachrichten, 26.3.19 (J.S. Bach, Johannespassion)

“The quality benefitted especially from three of the five soloists performing excellently. Above all Nils Giebelhausen. The eloquent, compassionate tenor was highly expressive in detail and, with his glowing voice, convincing in the arias.” Hessische Niedersächsische Allgemeine, 12.03.16 (J.S. Bach, Johannespassion)

"The German tenor Nils Giebelhausen combined the Evangelist and arias without a tremor, migrating between the pulpit and the front platform, and switching style with consummate fluency." theartsdesk.com, Wales, 25.10.15 (J.S. Bach, Johannespassion)  

“Also the tenor, Nils Giebelhausen proved himself as an unpretentious and clear tenor, a real stroke of luck for this performance.” Lippische Landeszeitung, 27.04.15 (W.A. Mozart: c-moll-Messe)  

“The most impressive role was surely taken by the tenor Nils Giebelhausen, who, as the evangelist, with clarity of words and most subtle nuances became the heart of the performance.” Remscheider General-Anzeiger, 23.3.15 (J.S. Bach, Matthäuspassion)

“Nils Giebelhausen proved himself to be an outstanding singer, who sang both the evangelist part and the arias - with his wonderfully radiant and supple voice.” Hessische/Niedersächsische Allgemeine, 14.4.14 (C.P.E. Bach, Matthäuspassion)

“The tenor Nils Giebelhausen sings the extensive evangelist part with exemplary clarity of text, in addition he displays in arias and duets a remarkable lyric potential.” Coburger Tageblatt, 22.4.14 (G.A. Homilius, Johannespassion)  

“Regarding the soloists, you could look forward to a reunion with Nils Giebelhausen… In the unaccompanied Seven Words of Jesus on the Cross his vocal expressivity spanned the whole spectrum from mellow lyricism to dramatic dazzling.” WAZ, 24.10.2013 (G. Biener, Coesfelder Passion)

“... the fabulous Nils Giebelhausen as a reciter with a radiant tenor voice Westfälische Nachrichten, 7.10.2013 (G.F. Händel, Alexander's Feast)

“The main subject of attention of the evening was the proclaimer, the evangelist: Nils Giebelhausen succeeded in bestowing a well-formed expressivity on his radiant voice without seeming theatrical.” Münsterische Zeitung, 19.03.2013 (H. Schütz, Johannespassion)

“The large narrative part of the Passion provides Nils Giebelhausen with the opportunity to employ his multifaceted tenor voice, varying dynamically in his rendering of the gospel, flowing lyrically in the aria “Mein Tröster” with a braiding of fine-textured sound provided by the flute and oboe, and movingly simple in his narration of Jesus’ departing." Hellweger Anzeiger, 11.3.2013 (J.S. Bach, Markus-Passion)

“The soloists also made an excellent impression. (…) Nils Giebelhausen has in the meantime developed an astonishing level of vocal maturity which strongly suggests a great future as a singer.” Westfälische Nachrichten, 03.7.2012 (F. Mendelssohn-Bartholdy, Paulus)

“Regarding the soloists: they were singers each with a strong personality who were all performing at the same high level, and being symbolic of the deep-lying human dimension. Nils Giebelhausen is an evangelist with a streamlined, tonally precise tenor voice, staying true to the meaning of the words, also an aria-singer of expression and power.” Reutlinger General-Anzeiger, 27.3.2012 (J. S. Bach, Johannes-Passion )

“There was no need for unease on behalf of the soloists, above all of the tenor Nils Giebelhausen, evangelist, a powerful declaimer of words. His convincing rendering of the part distinguished itself by his secure vocal ability, his clear diction and natural drama." Südwest Presse, 27.3.2012 (J.S. Bach, Johannes-Passion )

“Tenor Nils Giebelhausen beautifully strikes the right note of a narrator in his evangelist role, he is not uninvolved, and is illustrative beyond the narrative.” NWZ, 11.April 2011 (J.S. Bach, Matthäus-Passion)

“Bach intended a prominent role for the evangelist alongside the choir. The constantly alternating modes of performance - narration, regarding, reflection - demand a great vocal capacity, and Nils Giebelhausen delivered. With sparkling lightness he traced the roles effortlessly, transparently and unpretentiously, with an impressive range of both volume and dynamism.” NWZ, 4. April 2011 (J.S. Bach, Johannes-Passion) 

“The bright sound of Nils Giebelhausen’s tenor voice resonated in the recitatives with great expression above the gravely dark continuo accompaniment.” Der Westen, 19. April 2010 (J.S. Bach, Kantate BWV 66 Erfreut euch, ihr Herzen)

”Amongst the soloists tenor Nils Giebelhausen is the one to be highlighted. […] secure and clear even in the upper part of his voice, his carefully placed ornaments are never scuffed.” Westfälische Nachrichten, 21. März 2010 (J.S. Bach, Kantate 76 Die Himmel erzählen sowie h-Moll-Messe, Kyrie und Gloria)

“Nils Giebelhausen was a delight as an orally very clear evangelist and aria singer." Westfälische Nachrichten, 13. Dezember 2009 (J.S. Bach, Weihnachtsoratorium 1-6)

"Nils Giebelhausen is far more than just an accounting evangelist. He sings with command and intelligent design in the technically tricky arias, employing a wide spectrum of musical affect, ranging from grinding despair to visionary faith." NWZ, 16. März 2009 (J.S. Bach, Johannespassion)

“[…] proves himself as does the lightly-treading Nils Giebelhausen, a passionate artist, knowing all the tricks of ornamentation.” Westfälische Nachrichten, 28. April 2008 (G.F. Händel, Messias)

“With modesty, delicacy and clarity, the tenor Nils Giebelhausen underwent his task, who interpreted “Diese Schmach brach ihm das Herz” with extraordinary urgency, and at the same time without pathos.” Allgemeine Zeitung, 27. April 2008 (G.F. Händel, Messias)

“Especially Nils Giebelhausen should be mentioned before all others, who not only took on the tenor arias, but also performed all the recitatives as the evangelist, which, regarding the scope and demand of the work, not only demonstrates a musical performance of the greatest quality, but also one of great stamina." Iserlohner Kreisanzeiger, 12. März 2008 (J.S. Bach, Johannespassion)

“Tenor Nils Giebelhausen has just “hatched” into the role of evangelist. For the most part he sang recitativos, pieces without word repetition, and these brightly and smoothly. This did not, however, stop his mastery in his unobtrusive interpretation of the text, as for instance in the recitative "Allda kreuzigten sie ihn"." Die Glocke, 4. März 2008 (H. Distler, Choralpassion)

“It is up to the evangelist to keep the band of tension. The tenor Nils Giebelhausen throws himself passionately into his narrative role and draws on his experience in early music.” Westfälische Nachrichten, 3. März 2008 (H. Distler, Choralpassion)

“In a good collaboration between voice and harp the brittle but still so impressive music of Britten made for a moving experience. Nils Giebelhausen’s smooth and clear voice, the clarity of the text, his controlled presentation even of the almost drastic depiction of death and tribulation drove this gripping interpretation.” Niederelbe-Zeitung, 23. September 2007 (B. Britten, Canticle V The Death of Saint Narcissus)

“Tenor Nils Giebelhausen especially should be highlighted, who was convincing with his perfect intonation and great sensitivity.” Dorfinfo 21. August 2007 (A. Grandi, Marienvesper)

“The evangelist Nils Giebelhausen dazzled with an unusually clear and at the same time emotive portrayal of the Passion story, even dramatic at times." Ibbenbürenener Volkszeitung, 3. April 2007 (J.S. Bach, Matthäuspassion)

“Nils Giebelhausen gave us a healing evangelist, but also brought the defiant gestures in the aria "Nun mögt ihr stolzen Feinde schrecken” well to the fore.” Münstersche Zeitung, 2. Januar 2006 (J.S. Bach, Weihnachtsoratorium)

“Above all Nils Giebelhausen, whose slender tenor voice faced up well to the role of evangelist.” Westfälische Nachrichten, 2. Januar 2006 (J.S. Bach, Weihnachtsoratorium)

“No later than in the splendidly flattering aria about the nature of women this particular incarnation [of Blifil] by Nils Giebelhausen proves itself to be the highlight of the performance." Fränkischer Tag Bamberg, 14. Juni 2004 (A.D. Philidor, Tom Jones)

“… of the firm and clear tenor voice of Nils Giebelhausen… a well-matched ensemble of soloists, that gave substance to the music with vibrancy and clear direction." Kieler Nachrichten, 06. Januar 2004 (J.S. Bach, Weihnachtsoratorium)