«Gerhard Siegel was a revelation as Mime. Given the production's decision to make the Niebelung a grotesque monster (Wagner seems to have followed along with this idea of the character), it so no surprise that Siegel delivers a performance that borders on parody, but manages to fit beautifully into the world of the story. All the gestures and vocal accents were taken to the extreme and the level of immersion was so great that it is impossible to ignore Siegel when he is on stage. As he sang of the dragon for the first time in the opera ("Fafner, der wilde Wurm") his voice was hushed, emphasizing his fear. During his meeting with Wotan, "Heil dir, weiser Schmeid!" he smiled and laughed obscenely, but his constant fidgeting about the stage hinted at his fear. When he lost the riddle, he hung his hands over his head and fell to the floor, almost fainting dramatically. After that scene, Mime and the orchestra get a wondrous passage, "Verfluchtes Licht!" in which Mime's fear is unveiled. The voice and orchestra start quietly before rising in a histrionic crescendo until the sound explodes and transitions to Siegfried's second entrance. Siegel's voice pierced through the orchestra in a powerful display of fear that created empathy for the otherwise pathetic character. In act 2, the tenor portrayed Mime as equally dim-witted and over-emphatic. As he "secretly" explained his plan to Siegfried, he injected his voice with snarl-like attacks that expressed Mime's scornful plan. More importantly, these deliveries also created insight about Mime's repressed violent and his demonic nature; in these moments, Mime seemed more monstrous than his evil brother Alberich.»
David Salazar, Latino Post, 21.04.2013

«Thanks to German tenor Gerhard Siegel (also seen in Das Rheingold in the same role) as the dwarf Mime, the first two acts were full of sharp wit and character. His bright voice rang clearly and he kept the audience thoroughly entertained.»
Ayano Hodouchi,, 27.04.2013

«Mr. Siegel proved the standout of the show, his clarion, expressive tenor and compelling theatrical nuances resulting in a richly drawn interpretation of Siegfried’s manipulative, power-hungry foster father.»
VIVIEN SCHWEITZER, New York Times, 03.05.2013