„Diese Linien, diese lässige und doch perfekte, nie manierierte Aussprache, diese emotionale Bandbreite seines Gesangs! […] Gerhahers Naturton - kein Gekünstel, kein Forcieren - und pure Sehnsucht in der Stimme. […] Möge diese wundervolle, mal tief gründelnde, mal glockenhelle Baritonstimme noch ewig so klingen. Kein hörbarer Registerwechsel nirgends. Und dieses langsame Verklingen der Phrasen im zartschmelzenden Piano ist unglaublich.“
Jens Lehmann: „Wer da professionell bleibt, hat kein Herz“, in: rbb24.de, 24.09.2019

„Gerhaher [….] schmeichelnd und brutal, lieblich und herb, oft sekundenschnell den Habitus wechselnd, von der betörenden Kopfstimme zum geradlinig einschneidenden Fortissimo.“
Axel Zibulski: „Auftritte von Tod und Liebe“, in: Frankfurter Allgemeine Zeitung, 30.07.2019

"Gerhaher’s [...] voice is [...] extraordinarily beautiful; the quieter passages in the upper range come across with an especially beguiling mixture of sweetness and steel. Everything is under astonishing technical control. [...] Huber’s piano-playing, meanwhile, is a constant marvel of sensitivity and control. In every bar you can sense the closeness of the partnership. [...] Gerhaher and Huber achieve an almost alchemistic feat in making so much artistry feel so natural."
Hugo Shirley, SCHUMANN Frage (Gerhaher & Huber), in: Gramophone, 02/2019

„30 Years on, the World’s Greatest Song Partnership Flourishes
The baritone Christian Gerhaher and the pianist Gerold Huber have become bywords for sensitivity, cerebral depth and seeming perfection in lieder.“
David Allen: „30 Years on, the World’s Greatest Song Partnership Flourishes”, in: The New York Times, 23.11.2018

„The composer wields his large forces in a way that doesn’t overpower individual voices or the text. In the magisterial baritone Christian Gerhaher he found an interpreter able to let Goethe’s densely brilliant lines shine through the music.

Mr. Gerhaher has the power to project clarion vigor where needed. But more often his voice seems to become a vehicle for the words, with some passages delivered with a tone so lightened of vibrato that it approached the near-spoken style more commonly heard in modernist works. In the latter part of the evening, when he embodied the allegorical Dr. Marianus, whose worship of the Holy Virgin paves the way for Faust’s redemption, Mr. Gerhaher’s voice turned velvet and weightless.“
Corinna da Fonseca-Wollheim: „Review: A Rare Staging Finds the Magic in Schumann’s ‘Faust’”, in: The New York Times, 07.11.2018

„Christian Gerhaher singt die Titelpartie allerdings fantastisch, wechselt federleicht zwischen beinahe sprechartigem Gesang und seinem eleganten Bariton.“
Peter Helling: „"Szenen aus Goethes Faust": Blanker Kitsch“, in: ndr.de, 29.10.2018

„Gerhaher gave a masterful reading of “Von der Schönheit,” drawing in the listener with his detailed vocal reading constructing phrases in miniature and articulating every detail. […] Gerhaher’s reading was breathtaking in its profound sadness, bringing somber simplicity to his recitation of the first lines over the deep pounding of the orchestra, and conveying keen loss in the penultimate stanza, reflecting the longing in the text that cannot be fulfilled.“
Eric C. Simpson: “Rattle, London Symphony Orchestra guide an emotional journey through Mahler’s “Das Lied””, in: http://newyorkclassicalreview.com, May 07, 2018

“Christian Gerhaher in der Titelpartie ist darum eine Idealbesetzung, weil dieser Tage kein Sänger so ausgeprägt von der Sprache her denkt wie der deutsche Bariton mit seinem herrlich zeichnenden Timbre.“
Peter Hagmann: „Gefaltet und gespalten“, in: Opernwelt, 4|2018

“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

“Still sounding fresh-voiced as the miller’s apprentice, Gerhaher approaches the songs with a new, impulsive energy, as well as his finely honed eloquence in the poetry.”
Richard Fairman, “Schubert: Die schöne Müllerin — ‘absorbing new recording’”, in: Financial Times, 13.10.2017