“Neubert is the prototypical Lieder singer […] a master song stylist with the purity of his voice and communicative skills. […] he created vivid lyrical worlds with his gleaming lyric tenor and immediate connection with the texts.” (Schubert: Selected Songs)                                                                                                                                                                                                                                               – Seen And Heard International, Rick Perdian, December 2020

“German tenor Nils Neubert shone in the Benedictus.”                                                                                                                               (Bach: Mass in B Minor)                                                                                                                                                                                             – Northwest Reverb, Phillip Ayers, April 2018

“Mr. Neubert’s voice is a beautiful, silver instrument and his wife, Ms. Kim, went everywhere with him through subtle tempo and dynamic shifts, through moments of charm, light-heartedness and despair. It was a powerful performance, even when quiet.” (Schumann: Dichterliebe)                                                                                                                                                                                           – Isler’s Insights, Donald Isler, August 2017

“Nils Neubert’s vocal turn in Paisiello’s Cavatina was a small wonder.”                                                                                             (Kubrick: Barry Lyndon live score)                                                                                                                                                          Anearful, Jeremy Shatan, April 2017

“Nils Neubert, tenor, sang beautifully as the Shepherd.”
(Respighi: Lauda per la natività del signore)
– The East Hampton Star, Adam Judd, December 2015

“A work that embraces the essence of the Bel Canto style,“Fearful Minute” with music and lyrics by Tchaikovsky, is a love song that was performed beautifully by tenor Nils Neubert. […] With Nils Neubert’s passionate tenor voice, the classic romance work came to life.”
–, H and L Polgar, October 2015

“Mr. Neubert’s flexibility, tone, and beautiful handling of the passaggio were in evidence, despite Haydn’s frequently acrobatic demands.”
(Haydn: The Creation)
– The East Hampton Star, Adam Judd, July 2015

“[A] stirring, lucid tenor […] used to great effect […]”                                                                                                                                                                                                                                                                                                                                   – The Portland Mercury, Robert Ham, March 2015

“[…] Mr. Neubert’s powerful delivery of the Deposuit potentes text was echoed non-verbally in the strings.”
(Bach: Magnificat)
– The East Hampton Star, Adam Judd, December 2014

“[…] Nils Neubert had a lot to do, and he sang beautifully.”
(Handel: Acis and Galatea–Damon)
– Long Beach Grunion Gazette Newspapers, Jim Ruggirello, March 2014

“Tenor Nils Neubert, as Damon, the sensible friend, spun the sixteenth notes of his long melismatic runs with grace and ease. There was a consistent lightness in his voice that simultaneously achieved articulation, speed and beautiful line.”
(Handel: Acis and Galatea–Damon)
– Lauri’s List, February 2014

“Neubert impressed with his pleading voice, quivering emotion, lyrical style, and distinctive vibrato.”                                      (Works by Glinka, Rimsky-Korsakov, Tchaikovsky, and Rachmaninov)
– DC Metro Theater Arts, Jane Coyne, November 2013

“Nils Neubert’s passionate vocal interpretations embodied that Russian melancholy.”
(Works by Glinka, Rimsky-Korsakov, Tchaikovsky, and Rachmaninov)
–, Henri Georges Polgar, November 2013

“Nils Neubert’s rich tones made Rudi understandably an unforgettable presence in Ina’s emotions.”                                        (Cohen: Steal A Pencil For Me–Rudi)
– The Scarsdale Inquirer, Andrea Kurtz, May 2013

“[…] an excellent group of singers that featured […]the tenor Nils Neubert […]”
(Buxtehude: Membra Jesu Nostri)
– The New York Times, Zachary Woolfe, February 2013

“Ernesto was sung by Nils Neubert, whose light, lyrical tenor is a good match for the part. […] In “Sogno soave e casto” he showed off a smooth, pure tone and fine sense of phrasing.”
(Donizetti: Don Pasquale–Ernesto)
– The Classical Review, Corinna da Fonseca-Wollheim, May 2012

“Tenor Nils Neubert is similarly very fine, with a rich, romantic tone and expert phrasing on both “Comfort Ye” and “Ev’ry Valley”.”
(Handel: Messiah)
–, Bret D. Wheadon, 2012

“First comes the sublime recitative “Comfort Ye,” followed by the vocal flourishes of the aria “Ev’ry Valley,” both delivered here with poise by the tenor soloist, Nils Neubert.”
(Handel: Messiah)
– The East Hampton Star, Daniel Koontz, December 2011

“Neubert (The Prince) fuse[s] coloratura pyrotechnics with lyric grace.”
(Rossini: La Cenerentola–Ramiro)
– The Finger Lakes Times, Elena Ciletti, August 2011

“[…] the “Quoniam Tu Solus” allowed us to hear [Nils Neubert]’s rich [tenor] set against the two female soloists.”
(Mozart: Grand Mass in C minor)
– The East Hampton Star, June 2011 By Daniel Koontz

“Nils Neubert offered an expressive interpretation of [“Adelaide”] and a flirtatious rendition of “The Kiss.” He sounded his most convincing in the dark-hued “Sigh of the Unloved.”
(Beethoven: Selected Songs)
– The New York Times, Vivien Schweitzer, June 2011

“[…] the soloists were superb, with the tenor Nils Neubert’s clear, effortless high register perfect for the role of the Evangelist[…]”
(Bach: Christmas Oratorio)
– The East Hampton Star, Daniel Koontz, December 2010

“[…] Nils Neubert contributed solid, graceful readings of the tenor arias[…]”
(Kuhnau: Wie schön leuchtet der Morgenstern)
– The New York Times, Allan Kozinn, August 2010

“[…] his attractive tenor, beautifully controlled vibrato and amusing, flexible portrayal of Pygmalion carried the evening.”
(Rameau: Pigmalion)
– The New York Times, Allan Kozinn, May 2010

“[…] the resident ensemble is first-rate. […] The performances were energetic and supple, […]. The excellent vocal soloists, who also doubled as the chorus, were […] Nils Neubert, tenor […]”
(4×4 Baroque Music Festival: Works by Bach, Bruhns, and Tunder)
– The New York Times, Allan Kozinn, September 2009