“...casting a countertenor, Jean-Max Lattemann, who brings such charm and character. Lattemann as Orlofsky is a true Bacchus. In his coppery voice and flamboyant gestures, he truly becomes the prince of the ‘champagne song’ (Im Feuerstrom der Reben). ”
— London Theatre Reviews, July 2024
“Jean Max Lattemann delights in the complex role of Evanthes/Bacchus. His hope for a future together with Ariadne, which cannot be shaken at all, his hymn of thanks to the heavenly-divine wine are winning thanks to his balanced countertenor, and the sweetness of his light-footed coloratura is refreshing.”
— IOCO (Ingrid Freiberg), June 2023
“Countertenor Jean-Max Lattemann embodies god Bacchus disguised as Evanthes with dazzling timbre.”
— Wiesbadener Kurier (Manuel Wenda), May 2023
“The ‘Agnus Dei’, the pinnacle of the performance, which Jean-Max Lattemann sang enchantingly beautiful and atmospherically close-knit, giving a voice to the suffering human being.”
— Rhein-Neckar-Zeitung (Christoph Wagner), December 2022
“Central to the (Scarlatti’s) St. John Passion is the Evangelist (Jean-Max Lattemann), whose voice resonates through the Bergkirche. The church space becomes part of the music.”
— Wiesbadener Kurier, March 2022
“The music reaches new and insistent levels of exuberance, with the countertenor Mountain Witch (the fearless Jean-Max Lattemann) punching away at lines that could have been written for a dramatic mezzo.”
— Opera Magazine (Yehuda Shapiro), May 2019
“A second counter-tenor, Jean-Max Lattemann, played the Mountain Witch. Lattemann made the most of the theatricality of his scene, using the breaks in his voice to striking dramatic effect.”
— Robert Hugill, planethugill.com, 24 February 2019
“Countertenor Jean-Max Lattemann excels as the Mountain Witch, with one of the entrances sending the same chill down the spine as the final appearance of the Commendatore is capable of doing”
— Sam Smith, musciomh.com, 27 February 2019
“Jean-Max Lattemann is a promising counter-tenor, his falsetto clean, flexible and true.”
— London Evening Standard (Nick Kimberley), 27 April 2015
“Xerxes was sung by the young German countertenor Jean-Max Lattemann. He has a smooth and lyrical voice with an unconstrained top range, and in particular he showed flair in his Act II aria “Se bramate d’amar”. He is certainly a talent to watch out for.”
— Bachtrack (Nahoko Gotoh), 29 April 2015
“Countertenor Jean-Max Lattemann is the assertive and greedy King, who sweeps the audience away with high notes you could imagine soaring through a choir. He pushes boundaries and takes vocal risks, which adds to Xerxes’ pathos.”
