G. Ph. Telemann: „Kapitänsmusik 1744“
…Written for stars from the local opera house, it is not easy to sing, though Manfred Cordes’s Weser-Renaissance Bremen perform it with great dexterity and aplomb. Soprano Monika Mauch and tenor Immo Schröder are outstanding among the soloists, and the playing is exceptional in its grandeur and elegance.
Tim Ashley, The Guardian, 24.July 2009
His singing belongs among the highlights of the recording of the Kapitänsmusik of 1744, not
only in his arias but also in the recitatives, which he delivers in a really
Johan Veen, musicweb-international, 2009
J. S. Bach: „St. Matthew’s Passion“
German tenor Immo Schroeder, as the Evangelist, was brilliant in his narration. Using the whole spectrum of his voice, he was convincing and articulate; his dramatic timing, his well-sculpted phrases, his depth of emotion, his humility and the manner in which he addressed each and every nuance of the written text were moving, indeed, memorable.
The role of the Evangelist is evident. The vocal narrative requires precise, clear presentation with excellent diction. Immo Schröder fulfilled his role superbly, with appropriate dramatic engagement and a moving, clear, and charmingly unmannered performance.
First and foremost was the Tenor Immo Schröder with his captivating interpretation of the role of the Evangelist.
In Immo Schröder, Lingua Musica has found a narrator who throws himself heart and soul into the story, an eyewitness whose passionate reporting of the events sweeps the audience along. Schröder’s flowing recitatives provide precise accents through vocal colour, dynamics and well-considered timing. His voice throughout is clear and round, and his text clearly understandable.
S. Lemmers, Leidsch Dagblad
Tenor Immo Schröder as the Evangelist combined vocal beauty with expressively powerful narration in a completely unmannered performance.
The tenor Immo Schröder gave a performance that was free from mannerisms, yet clearly artikulated, and with a natural speech rhythm finely attuned to the playing of the sensitive Period Orchestra.
G.P:Telemann: „Kapitänsmusik 1735“
Amongst the soloists, Immo Schröder in particular stood out: impressive was not only how the tenor sang the role of gloating „Unthoughtfulness“, but also acted the part.
Heinrich Schütz: „Lukas-Passion“
Jos van Veldhoven, the conductor of this ensemble, can be proud of Immo Schröder (tenor), who understood perfectly how to portray the significance of a 17 century Passion.
Heinrich Schütz: „Matthäus-Passion“
The tenor Immo Schröder performed the main role of the Evangelist with great imagination. His interpretation of “Eli, lama asabthani” was deeply moving.
Heinrich Schütz:“ Weihnachtshistoria“
The marvelous singing of Evangelist Immo Schröder proclaimed the happy news through uplifting and richly orchestrated recitatives.
Immo Schröder was convincing, with delightful timbre, perfect intonation and charming, ‘spoken’ phrasing.
J.H.Graun: „Der Tod Jesu“
Musical images, firmly rooted in the Classical era, were effectively reproduced through Immo Schröder’s lively and animated performance. The tenor knew how to skillfully vary the intensity of his delivery, and revealed through precise artikulation the highlights of the Passion story.