"They were wunderbar!"
Pittsburgh Tribune, October 2008
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"It may be the under-the-radar knockout show of the season. The group’s 2007 double disk, Heute Nacht Oder Nie, was recorded live at Carnegie Hall, and the evidence is very clear that this is at once one of the most meticulously rehearsed and researched musical history projects in the world right now. (Not to mention, one of the craziest, most out-of-control bands of any kind playing concerts.) The huge dynamics, quicksilver tempo and mood shifts, and delicate, perfectly articulated ensemble work add up to a potent cocktail—the musical equivalent of an Absinthe Cosmopolitan."
Santa Barbara Independent, October 2008
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"Most elegant kind of Pop-Music."
San Francisco Chronicle, October 2008
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"What's fascinating is Raabe's vocal technique, which draws on sounds and colors you don't often hear these days. A natural baritone, he pitches his singing voice high, relying on a nasal head tone with a bit of a snarl behind it, and then rising -- a born crooner -- to a soft white-colored falsetto calculated to melt your heart."
(Washington Post, October 2008)
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"Like Fred Astaire, he can croon his way to tenorial highs or dip to playfully earthy basso lows. But there is not a trace of sentimentality in his singing, not a slice of ham, even when he is having fun. The Palast musicians, all male except for the solo violinist Cecilia Crisafulli, play with a stylishness, grace and vitality that do not call attention to their impressive virtuosity."
New York Times , November 2007
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"If anyone in the past two and a half weeks has stormed New York then it was Max Raabe. Raabe, a baritone, lounged against the piano, took two steps, sang, stepped back, lounged once against the piano, utterly cool and nonchalant, a star through and through. He sang his songs from the Weimar Republic, songs from Kurt Schwabach and Robert Stolz and his Palast Orchester loved this New York night more and more every minute. Raabe just lounged there, didn't wobble, didn't teeter, didn't blink. His voice was amazing, but eben more amazing was his physical control. Music, he explained, has always been strongly connected to fate and personal tragedy. And then Raabe made a dramatic pause, looked out at New York and asked: "Who cares?"
SPIEGEL ONLINE, November 2007
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"Fascinating!"
NEW YORK TIMES, November 2007
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“Max Raabe wildly celebrated. A fantastic success for the wonderful Max Raabe. His performance at New York’s Carnegie Hall closed with ovations from the spoiled audience. Within the framework of the Festival “Berlin in Lights” the capital city’s artists showed their stuff for 17 days in concerts, exhibitions and films. Yet none other was as acclaimed as the starchy-charming cabaret singer as he performed evergreens from the 20s.”
(Bild, 20.11.2007)
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“Germany has a new hero – Max Raabe … If anyone has conquered New York in the last two and a half weeks, then it was Max Raabe … Raabe, a baritone from Luenen, leaned on the piano, took two steps forward, sang, took two steps back, leaned again on the piano, totally cool and nonchalant, through and through a star. He sang songs from the Weimar Era, songs from Kurt Schwabach and Robert Stolz, and the New Yorkers loved his Palastorchester more and more each successive minute. Raabe just leaned there, didn’t totter, didn’t teeter, didn’t blink, his voice was formidable, but even more so was his lack of movement. Music, he says, has always been closely associated with fate and personal tragodies. And then he makes a dramatic pause, looks out at New York and asks: “Who cares?”
(Spiegel Online, 19.11.2007)
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“Brilliant!”
(Bunte, 15.11.2007)
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“Lots of applause!”
(Gala, 15.11.2007)
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“The legitimate son has taken over.”
(Berliner Zeitung, 12.11.2007)
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“Vicco von Bülow has for the first time taken on the honarary chairmanship. For many years he lent the gala his very own style as the emcee. Now a worthy successor has been found: Max Raabe amused with his “Necessary comments on dramatic musical examples” and has agreed to host the gala for the coming years.”
(Die Welt, 12.11.2007)
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“Master and successor: Gala- host Max Raabe and his predecessor Loriot.”
(Bild am Sonntag, 11.11.2007)
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“As the successor to the great Loriot, aka Vicco von Bülow, and who made the aids-gala a success with his “Necessary comments on dramatic musical examples,” Raabe also convinced critical members of the audience.”
(Berliner Zeitung, 12.11.2007)
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“This time Max Raabe is hosting the charity-gala at the Deutsche Oper alone, he is a worthy successor to the great Loriot, whose sophisticated way enhanced the aids-gala for years.”
(B.Z., 11.11.2007)
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“The general tenor that the singer would be a worthy successor to Loriot was topped by Berlin’s governing mayor: “He’s exactly the right person.” His partner Jörn Kubiki attested that Raabe had “more sex-appeal” than his predecessor Loriot, while Guido Westerwelle found him to be above all “ingenious.”
(Der Tagesspiegel, 12.11.2007)
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“An elegant appearance, a super cool facial expression, his eyebrows raised skeptically, a voice coated in nostalgia – that is how the auidence knows him and loves him. It doesn’t matter if Max Raabe is singing in New York or hosting the Aids-Gala at the Deutsche Oper in Berlin. After two transitional years with numerous emcees the cabaret singer is alone in filling Loriots great shoes … His fame has grown consistently. Again and again he with his Palastorchester has filled Berlin’s Waldbühne, but also concert halls in Chicago, Shanghai, Rome, Moscow and Paris. Recently in Los Angeles he celebrated the world-premiere of his new program “Tonight or Never” … now the cabaret singer with his nasal voice, rolling “r”, and unmistakable starchy charm has committed himself to hosting the Aids Gala. Vicco von Bülow, aka Loriot is more than pleased with the choice of his successor.”
(Die Welt, 12.11.2007)
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“Successor to the great Loriot: Max Raabe.”
(Bild, 12.11.2007)
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“His shiny patent leather shoes compete with the sharply parted brillantine hair, the audience is wearing jeans on casual Friday. Yet when Max Raabe with his starched shirtfront and put-on seriousness takes the stage at the sold-out Carnegie Hall it is as if the old-days of the venerable concert halls light up and the New York of top-hats and silk scarves comes alive again. The New York Times subsequently raves “Fascinating” and “impeccable.” Raabe’s as always slightly tinny black and white gramophone-baritone sings of long legs, short love affaires, hearts and pain … Max Raabe’s journey to the past doesn’t only bring out half-forgotten songs from Rudolf Bernauer and / or Robert Stolz as an opener, but also composers such as Kurt Weill, Cole Proter or Irving Berlin. To dare to perform a song such as “Cheek to Cheek” in a city where once Ella Fitzgerald and Frank Sinatra sung it is to carry coals to Newcastle. And if one really listened it was those pieces missing from Raabe’s program which in a peculiar way traced a historical connection between Berlin and New York. Many composers emigrated from Germany to New York. Now Max Raabe is not only re-importing American standards with a German touch. In a way the Berliner carried the early German works of the emigrated composers and poets back like a little green cactus. In a city such as New York one understands such a gesture: The encores were received by an audience giving standing ovations.”
(Der Tagesspiegel, 10.11. 2007)
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“Max Raabe breaks the hearts of the proudest women. Even in China! … Everywhere, be it in Japan, China, Italy or the USA the hits of the 20s and 30s spread a good mood. Now Max Raabe has a new job: he’s to become the successor to Vicco von Bülow, aka Loriot as the host of the great Aids-Gala in Berlin’s Deutsche Oper on 10 Novemeber.
(Bunte, 8.11.2007)
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“Opera in and of itself is a glamorous event. Yet once a year the Deutsche Oper on Bismark street is really dazzling: at the festive Opera Gala for the Aids Foundation, which is taking place on Saturday for the fourteenth time. Unfortunately the brilliant Vicco von Bülow has no longer hosted for the past three years. Yet in Max Raabe
(photo), who transports the life and artistic style of the 20s to the present with his perfectly detailed new interpretations, a worthy successor has been found for the next few years. For the first time he hosted the evening alone which he opened with the necessary comments on dramatic musical examples.”
(Der Tagesspiegel, 8.11.2007)
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“The entertainer Max Raabe conquers America. After the world premiere of his new concert program “Tonight or Never” at the beginning of the week in Los Angeles the singer and his Palastorchester have arrived in New York. Yesterday evening saw a concert in the large concert hall of Carnegie Hall. Raabes only private appointment for days: he celebrated – with out a costume – Halloween in Times Square. Sixty percent of his concert program in the USA was performed in German, additionally he performed classics in English. On Monday the entertainer will be back in Berlin to prepare for his hosting of the “14th Festive Opera Gala for the Aids Foundation” on 10 November at the Deutsche Oper. With his “Necessary comments on dramatic musical examples” he takes on the succession to Vicco von Bülow. Loriot has now become the honorary chairperson of the Aids Gala. Guests such as Begum Inaara Aga Khan, Komiker Hape Kerkeling, Designer Otto Kern as well as Berlin’s governing mayor Klaus Wowereit are expected.”
(Berliner Morgenpost, 3.11.2007)
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“The opening concert by Max Raabe and his Palastorchester – Songs from the Berlin and Vienna of the 20’s, which concluded with standing ovations and many encores – represents this Berlin perfectly.”
(Die Zeit, 5.11.2007)
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“Max Raabe and his Palastorchester opened the Berlin Festival in New York with nostalgic romantic sounds. In the almost sold-out Carnegie Hall the German retro-star enchanted the US-audience on Friday evening with a entrancing renditions of the evergreens from the “golden Twenties.” The greatest applause came after the catchy song “My Little Green Cactus,” which as known falls on the face of “Mr Kraus from next-door”. “The song is very well loved in Germany, because we still find this situation funny,” commented Max Raabe on the German penchant for “Schadenfreude.”
(dpa, 3.11.2007)
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"Irresistible. The Celebration of an era."
Los Angeles Times, October 2007
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“Tuxedo, slicked back hair and rolling “r” – it might be the exoticness of him, which makes Max Raabe so interesting for the Americans. Together with Berlin’s Palastorchester the singer performed his new concert program “Tonight or Never” on Tuesday evening in Los Angeles. In front of an audience of 1,500 Max Raabe and his musicians played hits of the old-days such as “When Elizabeth” or “Moon of Alabama” in the sold-out Royce Hall. Following LA were performances in New York’s Carnegie Hall and in Philadelphia his agency reported. Raabe’s new program will make its German premiere at Berlin’s Admiralspalast on 10 April next year. Following that he will be on tour through seventy cities in Germany, Austria and Switzerland. Marilyn Manson and his ex-wife Dita von Tesse can be counted among Max Raabe’s most famous US fans. In 2005 he saw to the musical background of the wedding of the musician and the erotic dancer.”
(N24.de, 31.10.2007)
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“A worthy heir for Vico von Bülow, aka Loriot has finally been found. Berlin’s singer and composer Max Raabe will now take on the task of hosting the annual AIDS gala at the Deutsche Oper entertaining its guests. Von Bülow is quite pleased about his successor.”
(B.Z. 21 April 2007)
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“His hits of the 20’s and 30’s are legendary. Max Raabe is even successful in the USA. Recently he performed with Berlin’s Palast Orchester in a Jewish synagog. During their USA West Coast tour the musicians played in the historic Temple Emanu-El’ in San Francisco. One-thousand two-hundred guests thoroughly enjoyed the performance.”
(Frau im Spiegel, 29 March 2007))
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“He is celebrated in the entire world! Singer Max Raabe recently performed in San Francisco with his Palast Orchester. An audience of 1,200 were ecstatic.”
(Bild, 21 March 2007)
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“A raging success!”
(Hannoversche Allgemeine Zeitung, 5 March 2007)
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“Export hit”
(Geo spezial, 6 December 2006)
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“The brilliant Max Raabe.”
(Bild, 13 November 2006)
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“He is a minimalist. In that he is a perfectionist. Max Raabe. Even before he sings the first note the guests in the Tipi rave about his slightly raised eyebrows. When he raises them for the first time they’re ecstatic. He does almost nothing. But what he does is perfect. Exactly fitting as his tuxedo. Max Raabe has returned to Berlin, this time with out the Palast Orchester. When Max Raabe sings hits and songs of the 20’s and 30’s it sounds as if he just came up with them himself. Songs from Friedrich Hollaender to Georg Kreisler tell of one great love story.”
(Berliner Morgenpost, 27 October 2006)
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“`Have you ever been in love with me?´sings Max Raabe as an encore looking dapper in his tuxedo with a charming innocent glance and a nonchalant classy bow. The answer is hilarious/greatly amused exultation. The sold-out Tipi tent at the chancellery is in love with him, celebrates him and his pianist Christoph Israel for a world class performance. No one can exude the morbid charm of the late 20’s and early 30’s as cheekily and smartly as well as classily dandified as he. Tall, lanky and elegant all at the same time. The perfect son-in-law, an old-school cavalier and young rascal, the rare specimen of a German gentleman who is up to something.”
(Märkische Oderzeitung, 27 October 2006)
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“In times when designers are talking about “comfort” and “everything going” a man like Max Raabe becomes a rarity. Ever a gentleman, in tails or a tuxedo, always nonchalant but never careless.”
(Best Fashion, Winter 2006)
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“Max Raabe or silence.”
(Neue Züricher Zeitung, 24 September 2006)
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“The Palast Orchester, at home on the stages of the world in America, China and Japan, celebrates its 20-year anniversary. Raabe with his twelve member ensemble has carried out very different kinds of projects, recorded his own songs in the style of the thirties, taken pop songs of today and styled them of old, or paid homage to the original Cuban rumba as on his most recent album. The emphasis of the concert however are as always as during the founding years of the orchestra the original hits of the 20’s and 30’s, which no one like Raabe has introduced to a mass audience. The understatement, the seemingly motionlessness with which the singer tells of outbursts of feeling has always created laughter. At the same time one can be inspired purely musically from the vocal artistry of the trained opera baritone, the virtuosic switching between bass and falsetto. Irving Berlin’s Evergreen `Cheek to Cheek´brought tears to the eyes of the audience due to its subtle interpretation… Raabe takes the music he makes seriously. Maybe that is his recipe for success…The number of friends he’s made in the world has increased dramatically. Maybe one should head his hit “Cloning can be worthwhile”. Then we would see him more often in his home city while he happily travelled the world at the same time.”
(Berliner Morgenpost, 29 August 2006)
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“Of late he’s celebrated great successes in New York, Italy, China and Japan with German song repertoire. Yesterday Max Raabe had his first “home concert” at Berlin’s Waldbühne after one and half years. It’s been exactly twenty years since the singer and the Palast Orchester came together to resurrected this music. The song, “No One Ever Calls Me” made the musicians famous in 1992. They now have a repertoire of 400 pieces, give 150 concerts a year and have toured through Asia, America and Europe since 1986 with practically the same musicians.”
(Berliner Zeitung, 28 August 2006)
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“They don’t just travel through time with their music. Be it Moscow, London or China – Max Raabe and his Palast Orchester are at home on the stages of the world.”
(B.Z., 26 August 2006)
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“Big in Japan.”
(Der Tagesspiegel, 26 August 2006)
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“Shanghai lay at their feet, as did Tokyo, Los Angeles and New York: Max Raabe and his Palast Orchester have long been counted among Germany’s most loved exports – and to the most subtly ironic, comic musical and smoothly performing anyway. Perfect in their fantastic nostalgic attitude the musicians have remained timeless: The singer Max Raabe as musical nonchalant elegant charmer and his twelve classy swinging colleagues.”
(Berliner Zeitung, 24 August 2006)
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“They have become rare in Berlin – and are at the same time always present: Max Raabe and his twelve member Palast Orchester haven’t performed in their home city for a staggering 18 months. Unforgivable but understandable. The entire world wants the magnificent ironic-nostalgic ensemble. Even in southern China up to 3000 fans a night loved it. Raabe knows Japanese as well and Nippon’s female population cried on their kimonos as he sung “Ninon”. Of course they’ll appear again in 2007, as in New York’s Carnegie Hall, which Raabe and the Orchestra sold-out quickly. Berlin’s most elegant ambassador remembers not with out a small shiver that they have performed on stage together for twenty years. It will certainly rain flowers at their twentieth birthday in the sea of lights of the Waldbühne.”
(Der Tagesspiegel, 24 August 2006)
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“Finally Max Raabe calls to the Waldbühne and his devotes come in droves.”
(Berlin Live, 24 August 2006)
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“Max Raabe melts the hearts of women…Hannover is intoxicated with Max Raabe… Standing Ovations for a show that makes the heart melt.”
(Hannoversches Wochenblatt, 21 June 2006)
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“A triumph.”
(Hannoversche Allgemeine Zeitung, 19 June 2006)
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“Max Raabe and the Palast Orchester have just performed at celebrated concerts in Japan and China. Raabe delighted the audience of his first concert in the People’s Republic with the Chinese folk song “Little River” added to the repertoire especially for them.” Hundreds of Chinese grabbed their mobile telephones, held them towards the stage and brought their loved ones at home to the concert as well.”
(Berliner Zeitung, 6 June 2006)
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“Max Raabe conquers China. Max Raabe learned extra for his first tour of China a few words in Chinese: `Wanshang hao´ - `good evening´. It was worth it: Raabe and his Palast Orchester were celebrated frenetically – even though most didn’t understand a word.”
(Frau im Spiegel, 1 June 2006)
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“A great honor for the Berlin singer Max Raabe who is performing in Japan and China: He is now worldwide a Panda ambassador for the Chinese city Chengdu in southern China.”
(Berliner Morgenpost, 27 May 2006)
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“Max Raabe is celebrated in Japan! `My little gleen cactus´blooms in Japan in too! After his sensational success at New York’s famous Carnegie Hall Max Raabe has now conquered Asia. Berlin’s singer is on tour for three weeks with his Palast Orchester in China and Japan. Raabe, celebrated like a pop star in Asia
(women cry, teenies scream) has fallen in love with Japan. Not in women, rather in jellyfish in vinegar.”
(Bild, 26 May 2006)
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“Most of the songs from Max Raabe and his Palast Orchester are incomprehensible for most Chinese. The group, however, was wildly celebrated on their first tour through China. At their second concert in China in Shanghai on Saturday the band mostly played German hits of the 20’s and 30’s. The Orchestra played such songs as “My Gorilla Has a Villa At the Zoo,” “From Head to Toe,” and “Singin’ in the Rain” as well as the old Chinese piece “Little River” which was added to the repertoire especially for this trip. The audience thanked them and acclaimed the musicians.”
(n24.de, 22 May 2006)
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“The German singer Max Raabe and his Palast Orchester generated much enthusiasm during their first Chinese tour in the harbor city of Shanghai. The repertoire with mostly German hits of the twenties and thirties was celebrated at the end of the concert with standing ovations. The orchestra played such well known hits as “My Gorilla Has a Villa At the Zoo,” “From Head to Toe,” and “Singin’ in the Rain” as well as an old Chinese Song titled “Little River” which was added to the repertoire especially for the Chinese Tour. Max Raabe greeted the audience with a few sentences in Chinese.”
(Die Welt, 22 May 2006)
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“The German Singer Max Raabe and his Palast Orchester equally inspired Chinese and those Germans living in China on their first tour through the “Middle Kingdom”.
(Lübecker Nachrichten, 23 May 2006)
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“Secretly, calmly and quietly worked his way to becoming a star of the world. Without scandals. His talent carries him around the globe. The nostalgic charm of his shellac tenor beguiles Americans, Italians, the Spanish or the French. As of tomorrow the Chinese and the Japanese. In August we’ll see Max Raabe and his Palast Orchester in the Waldbühne again. His success is based on the longing to the long lost bourgeoisie and its salon culture. Yet he sung about it long before the entire nation was obsessed by it. As every good artist is Max Raabe is a pioneer. He discovered the future in the past.”
(B.Z., 8 May 2006)
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“His voice floats like a stretch of clouds in the heavens.”
(Chengdu Business Newspaper, May 2006)
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“The Chinese song of Max Raabe captures the hearts of the audience of Chengdu.”
(Chengdu Evening Newspaper, May 2006)
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“Full of passion and intellect.”
(Chendgu Business Newspaper, May 2006)
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“Max Raabe – the singing gentleman.“
(Germanwings, 4/2006)
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“Max Raabe conquers New York. Standing ovations for the Berliner musician and his Palast Orchester at Carnegie Hall. The audience in the sold-out Zankel Hall stomped, clapped and demanded encores. Exceptional spirits backstage as well: Again and again Max Raabe and his twelve musicians hug each other. The singer, rather well known for his deadpan controlled facial expressions is all smiles. Scenes as if after a won world soccer championship. And somehow the group of Berlin musicians really have just won an imaginary world championship. Frank Sinatra, Miles Davis, Maria Callas: He who performs in Carnegie Hall has made it to the very top in the music business.”
(Berliner Morgenpost, 2 December 2005)
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“Standing Ovations for the Berliner and his Palast Orchester at Carnegie Hall.”
(Die Welt, 2 December 2005)
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“Max Raabe conquers New York with the songs of the 20’s…a milestone in his career – he who makes it in New York, especially at Carnegie Hall, can make it anywhere.”
(Hamburger Abendblatt, 2 December 2005)
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“They worship at his feet after the first few bars, are greatly entertained by his short commentaries in which he mulls over the few English words, elongates them and makes dramatic pauses so that in the end a slightly raised eyebrow is enough to provoke laughter… At the end a storm of enthusiasm brakes loose and is only quieted after the fourth encore. The hall quakes under the foot stamping of delighted New Yorkers”
(Der Tagesspiegel, 2 December 2005)
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„A Bygone Era Evoked“
(The New York Times, 2 December 2005)
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“Max Raabe and his Palast Orchester were celebrated Wednesday evening with incredible enthusiasm. A performance at Carnegie Hall is a particular honor. The New York audience wouldn’t let Max Raabe and the Palast Orchester leave the stage of Carnegie Hall Wednesday evening New York time without an encore: The German musician and his twelve member orchestra inspired its American audience with a program tailored to it. Such hits as the English language classics of the 20’s and 30’s “Night and Day,” “Happy Days Are Here Again,” or “Singin’ In the Rain” could be heard – in Raabe’s very special new interpreation. Even the deeply rolled “r” and the astute sarcastic humor of the artist in his tux made the obvious amusement of the age-wise well-mixed audience a sure thing.”
(Stern.de, 1 December 2005)
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"German Cabaret Star brings back Weimar Good Old Times."
Herald Tribune, November 2005
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“…There, where before him the Beatles and Frank Sinatra performed – on the stage of the world famous Carnegie Hall in New York!”
(B.Z., 1 December 2005)
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„German cabaret star brings back Weimar good old times.“
(Herald Tribune, 30 November 2005)
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“Max Raabe knighted: A performance at Carnegie Hall. Maria Callas, Enrico Caruso, Miles Davis, the Beatles, Frank Sinatra, Lang Lang and now Max Raabe: He who performs on the stage of the time-honored Carnegie Hall in New York has made it to the very top of the music business. Classic, Jazz or Pop: invited to perform at the concert hall in Manhattan named after the steal magnate Andrew Carnegie
(1835-1919) are only the crème de la crème of the music scene. A performance there is on par with being knighted.”
(Berliner Morgenpost, 28 November 2005)
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“The singer Max Raabe on the verge of a career highlight: coming Wednesday he’ll be giving a long-sold-out concert at the famous Carnegie Hall in New York with his twelve member Palast Orchester.”
(ap, 28 November 2005)
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“His charm makes even hard-nosed girls giggle and blush.”
(Welt am Sonntag, 26 November 2005)
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“Max Raabe just can’t be topped. Today the baritone and his musicians are well-known international artists.”
(TV familia, 26 November 2005)
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„The orchestra treats the material with great reverence. The arrangements are faithful to the period and so are the suits and dresses worn by Raabe and the musicians.“
(The Jewish Week, 25 November 2005)
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“Max Raabe and his Palast Orchester make it to New York’s Carnegie Hall…Raabe and his brilliant Palast Orchester have gotten around, the enthralled an audience of 18,000 at Berlin’s Waldbühne and 40,000 at Vienna’s Heldenplatz, the triumphed in Zürich, Paris, Rome and Moscow. And they’re already known in Los Angeles, Atlanta and Palm Springs. So its not as if Raabe & Co. are taking that first leap across the small pond. Yet a performance at Carnegie Hall is almost like being accepted into Olympus.”
(Handelsblatt, 25 November 2005)
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“Elegant in a tuxedo he now conquers the USA. On 30 November Max Raabe and his Palast Orchester are performing at New York’s Carnegie Hall – a rare honor for a German.”
(Bunte, 24 November 2005)
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“Ballroom Blitz”
(Time Out New York, 24 November 2005)
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“He rolls his “r” like no other. One-hundred eighty-five centimetres of poise – in a perfectly fitting tuxedo. That is Berlin’s star of nostalgia, Max Raabe. Now he’s even stirring things up in New York. Berlin’s export hit already sang last year in the Big Apple. Then however solo. Three concerts – all of them sold-out. Why are the Americans so crazy about Max Raabe? Modestly the virtuosic voice jokes: `Maybe because there isn’t anything like it elsewhere.´”
(Bild, 17.11.2005)
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“Export hit: the Palast Orchester and its singer Max Raabe with their evergreens and own compositions performed in the perfect sound of the twenties.”
(Vogue, 11/2005)
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“The great art of the nonchalant easygoingness is done no better than by Max Raabe. With charm and subtle humour entertainment becomes artistic theatre.”
(Handelsblatt, 26 August 2005)
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“In the courtyard of the Blever palace Max Raabe and his Palast Orchester perform for 600 Spanish open-air. Another place on his way towards his international career before his concert in Carnegie Hall. The best proof that German songs can also be exported
(B.Z., 8 August 2005)
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“Fortunate the country that has such an artist!”
(Berliner Morgenpost, 20 July 2005)
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“There can only be one. In the twenty years of his career Max Raabe has created a perfect artistic persona. The tuxedo wearer only needs to drop a dry remark and people are ecstatic, the slightest movement of his eyebrow gets the audience excited. On the other hand: Such a twenties revue demands its own kind of voice – and body language. Max Raabe is unbeatable in this discipline. In French its called: Il touche à la perfection, he touches perfection. And the masses. In one word: excellent evening entertainment.”
(Der Tagesspiegel, 11 February 2005)
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“The audiences demanded two encores with its never tiring clapping and rewarded Max Raabe and his Palast Orchester with Standing Ovations at the end of the concert.”
(California State Newspaper, 25 November 2004)
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“Don’t miss it!”
(Los Angeles Times, 16 November 2004)
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“If it’s true that there is a little bit of happiness somewhere in the world, as Raabe maintains with the song composed by Werner Richard Heymann, then exactly this feeling can be made apparent right now. The prolonged enthusiasm of the revered audience spoke volumes.”
(Kölner Stadt-Anzeiger, 17 August 2004)
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“Max Raabe now conquers the Russian capital. Together with his Palast Orchester he will be performing tomorrow for 400 guests in Moscow. The event: the launch of the new Russian “Rolling Stones Magazine” where the first issue will be presented. Raabe just finished celebrating sensational success in New York.”
(Bild, 23 June 2004)
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“Sold-out concerts, excited fans: New York has really taken the German singer and entertainer into its heart.”
(Frau im Spiegel, 29 April 2004)