Gerold Huber


“GerhaherHuber (one word) […] have set a totally new standard. They took a hold of Lied where Fischer-Dieskau left it […] and stripped it of all artifice […]: Natural, earnest, highly intellectual – and yet perfectly accessible and honest. […] Gerhaher is an uncommonly good recitalist […] Everything is real in this recital: the optimism, the loss, the anger, the futility. GerhaherHuber are truth in song. [...] Every emotion is authentic and comes to life. It is a lived traversal of the feelings and passions […] You listen on bended knee.”
Jens F. Laurson: „Oh, Only The Best Schöne Müllerin Ever!“, in: Forbes, 05.12.2017

"Gerold Huber war am großen Schwarzen ein gesitteter Unruhestifter, ein Gentleman-Querulant, seine Deutungen der Klavierstimmen waren fantasiereich, intensiv und von minutiöser Genauigkeit."

Stefan Ender, "Sing mir das Lied vom Tod", Der Standard, 16.11.2016

"Gerhahers jahrzehntelangen Klavierpartner Gerold Huber versteht es mit seinem minuziös kontrollierten Ton noch die kleinste musikalische Empfindung in den Noten zu erwecken."

Matthias Nöther, "Christian Gerhaher verwandelt Gefühle in Musik", Berliner Morgenpost, 04.10.2016

"Huber was Gerhaher’s equal in all respects. Schubert gave the piano its own independent voice in the cycle, and it is called upon to create the sounds of a bubbling brook, the rhythm of the water mill, the strumming of a lute, and, forebodingly, the call of a hunter’s horn. The emotional arc that the young man experienced was as deftly expressed in the piano as it was in the voice – maybe more so. Watching Huber play was also a delight, as his head bobbed ever so slightly and his mouth voiced silent words and sounds in wonder and awe, as if he were discovering the music’s delights and depths for the first time."

Rick Perdian, “Die Schöne Müllerin in Song and Verse”, seen and heard international, 15.06.2016