Connecting artists, managers and presenters worldwide ™

Musical World

Andrea Gruber

  • Soprano


Andrea Gruber Critical Acclaim / press reviews


“Andrea Gruber threw herself into the role of Lady Macbeth, in a take-no-prisoners interpretation that grabbed the listener's imagination. She is riveting to hear and to watch.”

Melinda Bargreen, The Seattle Times, May 8, 2006



“Singing with large, penetrating tone and seemingly bottomless depths of emotion, the soprano [Gruber] gave an impassioned performance that provided the proceedings with a radiant center. “Madre, pietosa Vergine” poured forth in a poignant, alluring stream of sound; “Pace, mio Dio!,” sung atop that massive cross, was moving and true.”

Georgia Rowe, Opera News, February 2006


“Still, there were episodes of glorious vocalism throughout the performance -- most notably in the sublime Leonora di Vargas of soprano Andrea Gruber…when you hear Gruber's impassioned performance, you're reminded that the character is one of Verdi's great heroines.Gruber is the radiant center of a strong cast…With her first entrance, Gruber introduced a large, penetrating voice thoroughly up to the demands of the role. The soprano isn't just technically ideal; she delivers the part with the kind of emotional urgency Verdi requires. "Pace, pace," sung atop that mammoth cross, was as dramatically moving as it was tonally beautiful.”

Georgia Rowe, The Mercury News, November 3, 2005



“Andrea Gruber sang Aida with a clarion soprano…Gruber, Odabella in Lyric’s “Attila” in 2000-01, offered the same kind of vocal power; at no point in any of the ensembles did we loose track of her brilliant soprano”.

Wynne Delacoma, The Chicago Sun-Times, October 25, 2004


“As Abigaille, stalking wildly about the stage in her dominatrix drag, she moves and sings with the intensity of a caged tiger.Her approach to the vocal line is equally fearless:full-bodied and thrilling at both ends of her wide range.While respecting Verdi’s often-intricate ornamented vocal line, she weeps, whispers and bellows, singing with the kind of passion and commitment that Italian divas used to project a century ago during the verismo era.”

Eric Myers, Opera News, January 2005


“It was clear to me that the part of the cruel daughter, Abigaille, was being sung by an artist with gifts beyond the others. The singer turned out to be Andrea Gruber, whose extraordinary voice I had heard in Central Park just six weeks earlier.”

MSNBC, April 24, 2004


“With an impressive new soprano, Andrea Gruber, in the daunting role of Abigaille…Ms. Gruber…sang with floods of sound, fearless attack and limitless energy.”

Anthony Tommasini, The New York Times, April 7, 2004


“Andrea Gruber emerged rough, wild and fearless as Abigaille, half an Italianate Brünnhilde, half a coloratura Elektra.”

Opera, June 2003


“Another high point was Andrea Gruber’s impressive Abigaille.This role is a killer, calling for a big range, coloratura and a huge sound; and Ms. Gruber had it all. Her voice grabbed the ear with its presence and solidity, from a deep, rich low to a generally secure and sizable top…her voice retained that character, generating an excitement that made you want to listen more.Ms. Gruber has done Turandot and Abigaille at the Met this season, two of the hardest roles in the repertory and pulled both off with flair.”

Anne Midgette, The New York Times, March 19, 2003



“It would be difficult to imagine a harder-working Minnie than Andrea Gruber, who gave a riveting performance of a long, difficult role…Gruber grew in vocal power, and her dramatic conviction evoked tears in the final scene.”

John F. Hulcoop, Opera News, August 2004


“Andrea Gruber galvanizes this production with her intense performance.Her big, dramatic soprano is ideally suited to the role of Minnie who is, by turns, the tender-hearted heroine to this rag-tag bunch of gold miners and the gun-toting frontier gal who fears no one.”

The Herald, May 14, 2004


“‘The Girl’ herself – opera star Andrea Gruber – is the best reason to attend…In one gorgeously rendered aria after another, Gruber builds her cachet.And as an actress, she forges quick, deep connections with other characters.”

King County Journal, May 12, 2004


“…Gruber threw herself into the role on opening night, conveying Minnie’s brand of toughness and sweet-natured gaucherie.She’s a fearless singer, going for the high notes with a rootin’ tootin’ gusto…This is a great role for Gruber; its feisty energy feels like an extension of her own personality, and she has the vocal firepower for the demanding music.”

Melinda Bargreen, The Seattle Times, May 10, 2004



“Andrea Gruber… sang a storm in the title role, wonderfully warm, tempered-steel tone, rock-steady.”

Rodney Milnes, Opera, March 2003



“Andrea Gruber gave a powerhouse performance as both Venus and Elizabeth.”

DallasMorning News, February 20, 2001


“Gruber was nothing short of extraordinary, in power, tone and presence. Venus is originally for a mezzo-soprano, so Gruber gave her voice a dusky tone for this character. Gruber’s Elizabeth was no shrinking violet, either. Her performance of Elizabeth’s song…mixes girlish excitement and mature intensity in perfect proportion; it’s a combination that makes you realize that there’s more to Elizabeth’s appeal than virginal purity.”

TulsaWorld, February 12, 2001



“ …Gruber, making her Lyric debut, brought rich, lyrical warmth to her Act I lament. Both (Gruber & Ramey) were passionately involved in their roles…”

ChicagoSun-Times, December 4, 2000


“As the warrior-maiden Odabella…Andrea Gruber (Lyric debut) brandished her huge, powerful and dramatic soprano like a double-edged sword. Her finest singing came in the Act I romanza and duet with Thompson’s Foresto which she delivered with vocal pliancy and sensitivity…the audience…awarded her several clamorous ovations.”

John von Rhein, Chicago Tribune, December 2000