Sebastian Pilgrim

Tristan und Isolde, Oper Leipzig

"Hardly less celebrated was Sebastian Pilgrim as König Marke, who invested his powerful balsamic bass voice and remarkable creative power in a touching monologue." Das Opernglas

"Sebastian Pilgrim is a tall, truly suffering König Marke, who you pay attention to when he talks about his love for Tristan." Freie Presse

"Sebastian Pilgrim as König Marke impressively showed how to sing Wagner, namely with linguistic style assurance but also with a lot of bel canto. He was another highlight of the evening." artvisionandmidou

"Sebastian Pilgrim can make an impressive role debut as a Marke. His pleasantly timbred bass, which is extremely sonorous in the low register, is very flexible in the middle and high register, and thus he succeeds in creating a multidimensional image of the deceived king between rage, despair, sadness and perplexed sorrow." OMM

"To König Marke, Sebastian Pilgrim gave all his authority and the force of his voluminous bass. Vocally he owed nothing to his part and inspired with great authority in voice and playing. His dynamic range and lyrics were exemplary. Pilgrim showed very impressively how powerful this composition can be when suitable voice size and creative intelligence meet. With every syllable of his knowing singing, the atmosphere of the performance changed. Suddenly a formative center point could be experienced. A splendidly sung and designed role portrait!" Online Merker

"The discovery of the evening was ensemble member Sebastian Pilgrim, who rightly received the loudest applause for his König Marke." Leipziger Internetzeitung

"A big success was the powerful-voiced bass Sebastian Pilgrim for his role debut as König Marke. With oppressive vocal power he blurted out his questions to Tristan and his disappointment about him in his long monologue in the second act, but in doing so he finely graded the dynamic content. Wonderful and impressive!!!" Oper aktuell

"The evening's strongest performance is Sebastian Pilgrim's König Marke.” Neue Musikzeitung 

"Bass Sebastian Pilgrim as König Marke was able to enjoy a lot of applause - a grateful role that almost always has the sympathy on her side with her sad monologue." BR Klassik

"Besides Kirch, Sebastian Pilgrim is certainly the perhaps even more sensational discovery of the Tristan premiere conducted by GMD Ulf Schirmer last night at the Leipzig Opera! In my decades of Tristan reception history I have certainly never experienced such a PASSIONful Marke; Pilgrim PASSAGES the role in a Shaljapinian depth, and after his two major performances one is undoubtedly inclined to understand the love-suffering of König Marke with regard to his unfulfilled one-sided love for his nephew as the real love-main-suffering of this highly interpretable Wagner opera.” Der Freitag

"Sebastian Pilgrim sings a voluminous, passionate König Marke." Hundert 11

Die verkaufte Braut, Oper Leipzig

"Sebastian Pilgrim captivates as Kezal with his sonorous, yet youthful, even acting sovereignty." Concerti

"Although Sebastian Pilgrim sometimes has his own ideas about the lyrics, he shines as marriage broker Kezal with his sonorous buffo bass, his smug parlando and the hilariously spread mannerisms.” Leipziger Volkszeitung

"Sebastian Pilgrim is a handsome Kezal with no old-guy attitude." Neue Musikzeitung

"As pimp Kezal, Sebastian Pilgrim stands out with striking, focused bass, both acting and vocally, and plays the grateful role with great comedy and presence.” Kultura extra 

"The complexity of a bass voice is hard to beat for Sebastian Pilgrim. It's like it beads and thunders at every turn." Kunst und Technik 

Der Ring des Nibelungen, Oper Leipzig

"There was happy news before the show, namely, that the singer of Hagen, Sebastian Pilgrim, had become a father of a daughter about two hours ago and could, therefore, seem a little emotional. Well, you can congratulate Mr. Pilgrim not only on his fatherhood but also on his interpretation of the dark villain. With profound, stable bass and subtle, sarcastic-nasty game he embodied Hagen. Restrained, attentive to whether his intrigues work well. They do – everyone falls into his traps, lets him manipulate. First, of course, the Gibichungen, Hagen's half-brother Gunther and his sister Gutrune." Oper aktuell

"As Hagen, Sebastian Pilgrim used his all-round great bass voice without forcing and without false accents; to some extent one could also hear what power reserves this beautiful voice has.” Thomas Kümmel 

"Well, Mr. Pilgrim can also be congratulated on his interpretation of the dark villain. With profound, subtly used bass and subtle, sarcastically fierce playing, he gave the Hagen. Restrained, attentively lurking to see if his intrigues would work." Oper aktuell 

Tannhäuser, Oper Leipzig 

"The Landgrave's play was only sung for the second time by Sebastian Pilgrim, who has been a member of the ensemble in Leipzig since this season. The relatively young singer pleases with a full bass and a well-controlled voice, which also has the appropriate tonal quality in all registers." Der neue Merker

"Sebastian Pilgrim thrilled with his thundering bass as Landgraf Herrmann." Leipziger Internetzeitung

Kinderoper: Der Ring des Nibelungen, Bayreuth

"Sebastian Pilgrim sang Fasolt and Hunding with an impressive bass."  Der neue Merker 

"Fasolt (Sebastian Pilgrim also as Hunding wonderfully diabolical and abysmal black) dies off to the powerful orchestral beatings." Das Opernglas

Das Rheingold, Theater Bielefeld 

"For the giants, Sebastian Pilgrim dominated as Fafner with strong vocals and strong shape, but his brother Fasolt was also in the good hands of Moon Soo Park." Das Opernglas 

Fidelio Nationaltheater Mannheim

"Sebastian Pilgrim kept the balance of the action throughout the entire work with an abundance of vocal and playing parts and impressed with room-filling, sonorous intonation." FAZ

"The star of the evening, however, is Sebastian Pilgrim, who can let his heavy playing bass hop powerfully, glow darkly or even emit tender emotion." Mannheimer Morgen

"Sebastian Pilgrim gives Rocco bassal power and expressive volume, with his swaying figure he draws a real portrait" Der neue Merker

„Satte Schwärze in der Stimme: Sebastian Pilgrim“ Rhein-Neckar-Zeitung

"der vorzügliche Sebastian Pilgrim als buckliger Glöckner von Notre Dame" Rhein Main Presse

"The real surprise of the evening was provided by Sebastian Pilgrim, who made the  'Goldarie' of Rocco a showstopper with his rich and full-sounding and elastic bouncing (like a rubber ball) bass over the difficult Parlando parts that was much disdained by critics." Das Opernglas

Götterdämmerung, Nationaltheater Mannheim

"Sebastian Pilgrim besitzt als Hagen dämonische Größe, was sich nicht nur beim Abwärtssprung der Oberstimme in Terz und Septime zeigt. Seine Stimme beeindruckt mit rabenschwarzer Fülle und zubeissender Tatkraft. […][Er] kann mit mächtigen über die Oktavweite springenden Bassschritten als Hagen auch deutlich machen, wie sehr Siegfried in seinem Bann steht. Das wirkt sich außerdem präzis auf das Bühnengeschehen aus." Der Neue Merker

The Bassarids, Nationaltheater Mannheim

"Sebastian Pilgrim as a profound Kadmos with a beautiful voice." Stuttgarter Nachrichten

"convincing also Sebastian Pilgrim as Kadmos with a powerful voice." nmz.d

"Sebastian Pilgrim gave the part of Kadmos with profund and secure bass a strong weight."  Rhein-Neckar-Zeitung

Don Carlo, Nationaltheater Mannheim

"The king was sung and performed excellent by Sebastian Pilgrim, it was his role debut and you can only say, he his a real enrichment in the subject Phillipp II. and as new 1st bass in the ensemble of the Opera Mannheim. The tragic of this figure – he must condemn to death his own son – becomes touching and vital in his interpretation.”

The Gambler, Nationalther Mannheim

"Sebastian Pilgrim, who is [since] 2013 1st bass at the National Theatre in Mannheim, takes the General A.D. very casual and expresses his fears of survival with massive, sensitive and also in the depths sharp-edged bass."

"[With] impressive deep bass frequencies [...] Sebastian Pilgrim characterized in accentuated presentation the General a.D."

"As General, Sebastian Pilgrim appeared at his best with rich and spicy bass." Rhein-Neckar-Zeitung

"Sebastian Pilgrim campe d’un robuste organe le Général"

"the Bass Sebastian Pilgrim finds as retired General to an adequate duller presence."

International Song Competition for Wagner Voices, Karlsruhe

"27 year old Sebastian Pilgrim, threw himself into with expressive gestures in this Daland and offered in the second round, thanks to his gestures and facial expressions, a very convincing portrayal of Hagen and thrilled the audience with it. He was awarded the Wolfgang Wagner price and I am excited about the expected career of this very gifted young man.” blog

World premiere at the finalists concert at the Bundeswettbewerb Gesang, 2012

“At the beginning, one of the winners from the year 2010, Sebastian Pilgrim, recited three songs by André Werner as a world premiere and rejoiced the audience with his noble basso, already proven in Erfurt in Wagner bass roles.” Der Opernfreund

Nabucco, Theater Erfurt

“The little scene of Sebastian Pilgrim as Grand Sacerdate let sit up for a moment. Compared to his colleagues he was convincing to express the issue of his character vocally - the preservation of the social position at all costs. That makes you want more.” Der Neue Merker

Lulu, Theater Erfurt

“[…] Sebastian Pilgrim in the role of Der Athlet swings a dialect-laden juicy bass whip. […] Also the rest of the cast measured up with the extraordinary demands of this twelve-tone com-position, including with powerful voice Sebastian Pilgrim as Der Athlet.” Thüringer Allgemeine

“Pilgrims bass not only developed a capacity that is able to fill any large opera house effortlessly. His voice also has tremendous flexibility, with which he can trace different musical moods very well. That showed up in especially well in the songs of Carl Loewe (1796-1869).” Lippische Landeszeitung

Die Zauberin, Theater Erfurt

“In the role of Kuma's uncle Foka it was Sebastian Pilgrim who grew attention with its pleasantly powerful bass.” Der Neue Merker

Das Waisenkind, Theater Erfurt

“Sebastian Pilgrim is the mean Dag Ngan Kagh, His serious voluminous bass underlines its imposing comman-ding appearance.” Der Opernfreund

Elias, Theater Erfurt

“Decisive part in the success of the performance of ‘Elias’ had the interpreter of the title role, baritone Sebastian Pilgrim. With phrasing and expression he gave the Prophet distinct contours and a distinctive profile in all its different facets. The singer designed both the ‘Eifer für den Herrn’, whose word is ‘like a hammer’, and the utter despair in the aria ‘It is enough’ with equally dramatic hardness and lyrical intimacy.” Neue Westfälische

Der Trank der Unsterblichkeit, Theater Erfurt

“The list of the cast is quite extensive, so I just would like to mention by name Sebastian Pilgrim, who was the chess of Persia, because he drew attention with his beautiful voice.” Der neue Merker

“With powerful, room-filling bass voice shone Sebastian Pilgrim as chess Schemzaddin.” Der neue Merker

“Dark and sonorous: bassist Sebastian Pilgrim.“ TLZ

Die Medici, Theater Erfurt

“Sebastian Pilgrim excelled as conspirator Francesco Pazzi with his dark and resounding bass.“ Online Musik Magazin

Alceste, Nationaltheater Mannheim

"Sebastian Pilgrim as terrifying Alceste, as playmate and desiring good of the Hades." Das Opernglas

Not available!