Don Carlos / Posa – NP Royal Opera House Covent Garden London, 2017
Dirigent: Bertrand de Billy; Inszenierung: Nicholas Hytner, Mai 2017
Pohl, meanwhile, an impeccable singer-actor, gives the evening’s subtlest performance, beautifully characterised and sung with wonderfully expressive restraint: you really believe in this man’s political passion and dignity.
Tim Ashley, Don Carlo review – Hytner’s blood-red horror hampers Verdi’s dark vision, in: the guardian, 14.05.2017
Christoph Pohl, substituting for Ludovic Tézier, sang a warmly virile Rodrigo
Rupert Christiansen, Don Carlo, Royal Opera House, review: 'under-directed but with much to enjoy vocally', in: The Telegraph / culture Opera, 13.05.2017
With limited time to adapt to the show’s take on the character of Posa, German baritone Christoph Pohl offers nicely focused, compact tone.
David Gutman, Don Carlo review at Royal Opera House, London – ‘a serviceable revival’, in: The Stage, 15.05.2017
Christoph Pohl, stepping in at even shorter notice for Ludovic Tézier, made a fine impression as Posa, his noble baritone having just enough bite to wound Philip in their Act 2 confrontation.
Mark Pullinger, Royal Opera's Don Carlo revival fails to completely catch fire, in: bachtrack, 13.05.2017
… and there is much else to enjoy here, notably Christoph Pohl’s nobly sung Rodrigo
Michael Church, Don Carlo, Royal Opera House, London, review: The evening's tours de force come from Ekaterina Semenchuk, in: Independent, 16.05.2017
Another late jump-in, Christoph Pohl as Rodrigo, Marquis of Posa (the most level-headed character in the opera, albeit a slightly equivocal figure) was excellent: strong-voiced, sure-footed and an ideal vocal foil to Bryan Hymel in the title role. The pair's famous duet, a forerunner to the evergreen favourite from Bizet's Pearl Fishers, was notably stirring.
Mark Valencia, Review: Don Carlo (Royal Opera House), in: What’s on stage, 16.05.2017
Crucially, the only thing she didn’t reliably convey was Elizabeth’s pathos and vulnerability, while Hymel was infinitely more secure in his scenes with his one loved and trusted friend Posa. And no wonder, considering the breadth and subtlety of Christoph Pohl’s performance, enhanced by his cultivated baritone supporting, containing and characterising Hymel’s brilliance and ardour. Their singing got to the heart of their famous duet, and just as you thought that Posa was a bit too well-behaved, his flashpoint with King Philip over the Flemish problem was sharp and shocking.
Peter Reed, The Royal Opera – Nicholas Hytner’s production of Verdi’s Don Carlo, in: Classical Source, 12.05.2017
The second stand-in, Christoph Pohl as Rodrigo, has a soft-grained baritone of surprising heft and an easy top.
Francis Muzzu, Don Carlo – ROH – 12 May, 2017, in: Rhinegold Publishing, 15.05.2017
Pohl has a golden sound and expressive technique, alternating the subordinate accompaniment to Carlo in their famous duets with a commanding presence to direct his friend’s conduct.
David Chadderton, Don Carlo, in: British Theatre Guide, 13.05.2017