[1] His repertoire includes rarely performed works such as Henze's Boulevard Solitude, Nigel Osborne’s The Electrification of the Soviet Union,[2] Hindemith's Neues vom Tage[3] and Poulenc's Les mamelles de Tirésias.
[4] More standard works[5] include Richard Strauss's Capriccio (the Count), Ariadne auf Naxos (Harlequin and the Music Master), Der Rosenkavalier (Faninal); Mozart's The Magic Flute (Papageno and the Speaker) and Così fan tutte (Guglielmo and Don Alfonso); Wagner's Tannhäuser (Wolfram), and Meistersinger (Beckmesser).
The English music critic Alan Blyth[11] was immediately struck by the baritone’s first recording of Schubert's Die Schöne Müllerin[12] and remained a firm advocate;[13][14] more recently Richard Fairman referred to an exceptional ability to communicate the rhythms and meanings of poetry.
[15] He has worked with many pianists of note, a long-standing collaboration with Imogen Cooper being widely admired for its exceptionally close rapport;[16][17] other partners include Andreas Haefliger[18] and Philippe Cassard[19] as well as dedicated accompanists Gerard Wyss, Russell Ryan and Roger Vignoles.
[43] His Erich Zeisl disc marking the composer's 100th anniversary included unpublished songs, and he contributed to a recording of new settings of Eduard Mörike's poetry[44] commissioned by the Hugo Wolf Institute of Stuttgart, to celebrate the poet's 200th birthday.