Press Cuttings

Goorissen: Gylden Storm (Golden Tempest)

“A debut of an indispensable type of artist for the best forms of contemporary music theatre, Mercury-quick in his ability to create and change a character.”
Peter Johannes Erichsen in Øjeblikket

Bach: St. John’s Passion

”Especially Mads Elung-Jensen was convincing in the demanding and decisive role as the Evangelist. His voice has the right light for this music, he is stylish, and masters the art of giving life to both the simple story telling and to the dramatic outbursts. Brave and capable.”
Ole Straarup in Aarhuus Stiftstidende

Bach: St. John’s Passion

”In the role as the Evangelist Mads Elung-Jensen’s natural tenor is a real discovery.”
Jan Jacoby in Politiken

Bach: St. John’s Passion

”Mads Elung-Jensen, who sang the evangelist, has before and now once again impressed with a special radiant clarity. His graphic portrayal of the apostle Peter’s crying in the difficult recitative at the end of the first part was sublime..”
 Jakob Brønnum in Aarhuus Stiftsstidende

Schönberg: Brettl-Lieder »Cabaret-Songs«

”And Mads Elung-Jensen himself is really funny when that is required. He sang all these crazy songs with an unusually clear pronunciation… he sang with theatrical gesture and a rare sense of the light sparkling Viennese madness  about the beautiful Galathea, who is so lovely that it is too much to kiss her on the mouth, about the hardy lover, whose girlfriend lies all year on the divan striking her cat’s hair etc”.
 Ursula Andkjær Olsen in Berlingske Tidende

Britten: War Requiem

”Copenhagen tenor Mads Elung-Jensen at his turn excited in his lyric solos. His scornful asides in the »Agnus Dei« were shuddering… unspeakably moving as the tenor after this called his colleagues out of their silence with a cradle song and tried to wake up at least a glimpse of hope.”
Sebastian Loskant in Münsterland Zeitung

Britten: War Requiem

”The cast could not have been better. Conducted by Thomas Dorsch, the small ensemble was at least as intense as the large orchestra. The Danish tenor Mads Elung-Jensen incorporated the persecuted desparation and painful resignation.”
NicolainKobus in Westfälische Nachrichten

Johann Strauß: Fledermaus

” Mads Elung-Jensen as Alfred was very suitable, extravagantly over the top.”
 Declan Townsend in Irish Examiner

Mozart: Cosinfan tutte

”Guglielmo (Oliver Weidinger) and Ferrando (Mads Elung-Jensen) played – just as they should the contrast of nonchalant men of the world. They obeyed Don Alfonso’s directions and made the audience roar with laughter, as they apparently drank arsenic and threw themselves into death agonies. “
Gunther Held in Neue Westfälische

Bent Sørensen: Popsange (Pop-Songs)

”Mads Elung-Jensens tenor seemed like created for Bent Sørensen’s »Popsange«. His exquisite phrasing gave space to the silence with a vibratoless sound. But he had also the opportunity to show his and Bent Sørensen’s more expressive side in the fourth song, composed to Michael Strunge’spoem  »Smerte« (Pain)”. Vibeke Wern in Berlingske Tidende

Schumann: Paradies und die Peri

”The youth and the narrative roles were sung by the tenor Mads Elung-Jensen, who during the evening showed an immense expansion in his dramatic intensity”
 Rita Wilhelm in Frankfurter Neue Presse

Carl Orff: Carmina Burana

”Mads Elung-Jensen borrowed his tenor to the roasted swan, and gave expression to all the comic moaning of the white bird’s song”
Wolfgang Schulze in Berliner Morgenpost