“All the other excellent members of the singers’ cast played two roles. Jean-Max Lattemann’s cross-dressing Colombina has a beautifully modulated counter-tenor, which Lambert exploits in long lyrical lines.”
— Chris de Souza, planethugill.com, March 2026
““Particularly worthy of mention is the fantastically beautiful rendition of the aria “Es ist vollbracht”, in dialogue between the gamba (Julie Borsodi) and countertenor Jean-Max Lattemann, whereby the musical climax of the performance coincided with the theological centre of the Passion.””
— Rhein-Neckar-Zeitung (Christoph Wagner), April 2025
“...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.”
