1) J. Haydn: The Seasons: “As a lyric tenor with great sensitivity, the young Peter Diebschlag turns, who sings the Luke. The fine art of legato singing in the piano he already mastered as a few, such as in the delicate cavatina about midday. His hiker in winter is reminiscent of Schubert’s Winterreise.” (Potsdamer Neueste Nachrichten, 08.10.2007)

2) J.S. Bach: Christmas Oratorio, Gewandhaus Leipzig: “Peter Diebschlag gives a first-class evangelist. The tenor sets the tone light and clear in the room.” (Leipziger Volkszeitung, 04.12.2007)

3) J.S. Bach: Christmas Oratorio 1-6, St. John’s Church Magdeburg: “The big surprise was Peter Diebschlag… With him united excellent text articulation, more commonly coloratura singing with a wonderful lyrical vocal splendor, as you rarely hear it in this role. Each of his solos became a musical pleasure.” (Magdeburger Volksstimme, 11.12.2007)

4) J.S. Bach: St. Matthew Passion, Peace Church Potsdam: “From the pulpit spoke the fabulous, high-pitched tenor Peter Diebschlag… His narrator role he shone so intensely and effortlessly communicative that you spellbound hung on his lips.” (Potsdamer Neueste Nachrichten, 11.04.2011)

5) J.S. Bach: St. John Passion, Magdeburg Cathedral: “Among the soloists, the tenor has the greatest responsibilities. In this part Peter Diebschlag was experiencing, and he has mastered this task overwhelming. The many sometimes very long recitatives he sang not only text understandable and declamatory, but also in every moment with sonorous voice, bright, almost floating in the heights, changeable, movable. He also sang the tenor arias sovereign, with carefully thought out and technically excellent ornaments. The Magdeburger tenor proves as a Baroque artist first order.” (Magdeburger Volksstimme, 26.04.2011)

6) G.F. Händel: Messia, Luxembourg: “Peter Diebschlag went a consistent path from a melodic oratorio singing to a powerful accented “Tenore lirico spinto” emphasis.” (Luxemburger Wort, 15.11.2011)

7) J.S. Bach: Christmas oratorio 1- 3, Festival Tirol: “Peter Diebschlag spread the connecting gospel texts in moving compassion before the audiance. In a sophisticated multi- role he also mastered the tenor aria “Frohe Hirten”, exalted above all technical difficulties.” (Oberbayrisches Volksblatt, 31.12.2013)

8) J.S. Bach: Christmas oratorio 4- 6, Festival Tirol: “…sung enthsiasticly the tenor Peter Diebschlag: “Ich will nur dir zu Ehren leben” with dedicated and extremely clean sung coloratura in enormous phrasing.” (Oberbayrisches Volksblatt, 20.01.2014)

9) J.S. Bach: St. John Passion, Ulm: “… Great pleasure prepared the wonderful voice of Peter Diebschlag as evangelist, who also mastered the direct exchange between aria and recitative easily.” (Augsburger Allgemeine, 31.03.2015)

10) B. Britten: War Requiem, Magdeburg Cathedral: “Diebschlag scored both with lyrical melt as well as appealing presence and enchantment.” (Magdeburger Volksstimme, 16.05.2015)



1) G. Bizet: Les pecheurs de perles, Theatre Magdeburg: “A sensational vocal performance by Peter Diebschlag as Nadir with vocal splendor and dramatic expressiveness in his lyrical voice.” (Magdeburger Volksstimme, 03.07.2006)

2) G. Bizet: Les pecheurs de perles, Theatre Magdeburg: “The young Peter Diebschlag really enraptured the audiance with the role of Nadir and his incredibly safe and all pitches effortlessly mastered singing! He just managed everything.” (Magdeburger Stadtjournal, 07.07.2006)

3) G. Donizetti: L’elisir d’amore, Theatre Magdeburg: “The audiance was waiting for that. Nemorino finally threw himself in the chest, gave away his melting romance and attracted some furtive tear.” (Mitteldeutsche Zeitung, 25.01.2007)

4) L. Fall: Madame Pompadour, Theatre Magdeburg: “… sings with luster of a tenor and lyrical sweetness Peter Diebschlag as Count d’Estrades in the hearts of the audiance. A tenor, as you can see it rarely and he also acts gorgeous.” (Magdeburger Volksstimme, 01.10.2007)

5) W.A. Mozart: The Magic Flute, Theatre Magdeburg: “With Evmorfia Metaxaki and Peter Diebschlag as Pamina and Tamino this “Magic Flute”- production has a real Mozart- “dream couple”. Their singing is haunting beautiful, their acting is of big convincing naturalness.” (Magdeburger Volksstimme, 24.11.2008)

6) H.W. Henze: The young Lord, Opera House Dortmund: “Peter Diebschlag is a text understandable singing, sonorous, flexible, and convincing acting student Wilhelm.” (Online Musik Magazin, 23.06.2009)

7) W.A. Mozart: Don Giovanni, Theatre Magdeburg: “The big surprise of the evening is Peter Diebschlag as Ottavio. This unlucky groom relieved of any ridiculousness here. Sincere and very emotionally he is committed to his role as a softie, sings beautifully with many nuances. Although he is the loser with Donna Anna, but as he appears, he is the real heartbreaker.” (Magdeburger Volksstimme, 28.09.2009)

8) W.A. Mozart: Don Giovanni, Theatre Magdeburg: “Peter Diebschlag as a militant Ottavio has a very beautiful Mozart- tenor, but also can prevail powerful in addition to the elegiac sounds.” (, 29.09.2009)

9) W.A. Mozart: Don Giovanni, Theatre Magdeburg: “Different happens to Peter Diebschlag as Don Ottavio with his beloved. His vows “Dalla sua pace” and “Il mio tesoro intanto”, presented with a beautiful tenor tone and slim ruling, do not help anything.” (Das Opernglas, Novembre 2009)

10) G.P.Telemann: Orpheus, Theatre Magdeburg: “Peter Diebschlag gave this Eurimedes with beautiful shiny tones and force- especially at the high coloraturas.” (Operapoint, 19.04.2010)

11) W.A. Mozart: The Magic Flute, Nikolaisaal Potsdam: “Tenor Peter Diebschlag was a gorgeous Tamino. In his “Dies Bildnis ist bezaubernd schön” in the hall probably some had goosebumps.” (Märkische Allgemeine, 04.10.2010)

12) G. Donizetti: L’elisir d’amore, Theatre Freiberg: “The clumsy charm of the young Peter Diebschlag as Nemorino the audiance succumbed much faster than his beloved, which he gives truly heartwarming tones.” (Dresdner Neueste Nachrichten, 26.09.2011)

13) C. Monteverdi: L’Orfeo, Theatre Radebeul: “In fact, there have been moments in the rehearsals in which the singer of Orpheus bewitched so beautiful that present women were getting restless.” (Sächsische Zeitung, 15.03.2013)

14) C. Monteverdi: L’Orfeo, Theatre Radebeul: “Peter Diebschlag sings the Orfeo with soft velvety timbre and lyrical emphasis and handles the vocal requests easily, to remain credible as a character, as the singer, who soften the stones with his singing.” (Dresdner Kulturmagazin, 30.03.2013)

15) G. Rossini: Il barbiere di Siviglia, Theatre Fulda: “Amazing, how coloratura safe and clean Diebschlag intones the cavatina.” (Fuldaer Zeitung, 20.12.2013)

16) M.A. Charpentier: Medee, Theatre Radebeul: “Peter Diebschlag is the sorceress as Jason vocally opposedwith his cool tenor part. He lets the male hardness reverberate in his voice, first in the farewell scene with his beloved Creuse shimmers something soulful. The scene … succeeds him and Miriam Sabba wonderfully poignant.” (Dresdner Neueste Nachrichten, 19.05.2014)