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Musical World

Christine Goerke

  • Soprano


Christine Goerke press reviews

Critical Acclaim
“Soprano Christine Goerke sang passionately of Siegfried’s murder, took the power-possessed ring and urged her horse up into the towering flames of the funeral pyre. The balance between Goerke and the DSSO was never lost. Her voice came across as full as the entire brass section, but as mellow and tuneful as the lower strings. As the orchestra brought the drama to a close, the modifications to the DECC stage shared the standing ovation with Goerke.”

Samuel Black, Duluth News Tribune, October 29, 2007

As Alice in Verdi’s FALSTAFF, Opera Company of Philadelphia, May, 2007

“Christine Goerke's bold, expressive singing created an exuberant Alice, leader of the successful female schemers. She was the center of all of her scenes, blending and soaring as she shaped the role.”

Daniel Webster, Philadelphia Inquirer, May 8, 2007

“Vocally the strong cast was dominated by Christine Goerke's splendid, knowing Alice, with refulgent arcs of tone and every trill and musical grace in place.”

City Paper, May 8, 2007

As Rosalinde in Strauss's DIE FLEDERMAUS, San Francisco Opera, September, 2006

"The evening's standout was Christine Goerke. Making her company debut as Rosalinde, the soprano brought large, luxuriant tone and gorgeous top notes to the assignment: she projected mightily, phrased unerringly, handled her dialogue with finesse and enlivened her scenes with keen comic skill."
—Opera News, November 2006

"Heading a fine cast was soprano Christine Goerke, making a powerhouse debut as Rosalinde. This was a riveting performance, marked by brilliant silvery tone, billowing melodic phrases and flawless comic timing; that the singer is in an advanced stage of pregnancy only added to the audience's admiration."
—Joshua Kosman, San Francisco Chronicle

As Rosalinde in Strauss's DIE FLEDERMAUS, Opera Company of Philadelphia, May, 2005

"Still, key figures such as conductor Corrado Rovaris and leading soprano Christine Goerke were performing Viennese operetta for the first time. Rovaris eschewed Straussian schmaltz for a straight-ahead Italian opera buffa style, and Goerke, a fledgling Wagnerite, couldn't help outsinging everybody with the innate amplitude of her voice. However, the role of Rosalinde (Mrs. Eisenstein) harnessed Goerke's great comic talents with marvelous precision."
—David Patrick Stearns, The Philadelphia Inquirer

"Goerke's thrillingly rich, agile vocalism easily dominated. Very few Rosalindes so successfully bring Wagnerian heft to Johann Strauss' twists and turns. Her speaking displayed the same wide tonal palette and command of comic nuance. A total triumph."
—David Shengold, City Paper

As Donna Elvira in Mozart's DON GIOVANNI, Metropolitan Opera, March 2004

"In this terribly difficult role the young soprano Christine Goerke finally has the major Met success that has been due her ... as Elvira she won bravos galore for navigating the leaps and bounds of the vocal lines with fearless confidence and singing the lyrical outpourings with tenderness and, more importantly, nobility, lending the character the dignity that is often missing."
—Anthony Tommasini, The New York Times

"Christine Goerke not only sang brilliantly as Donna Elvira, but entered the role's looking glass, revealing layers of agony born of abandonment with nakedness I've never seen from her."
—David Patrick Stearns, Philadelphia Inquirer

As AGRIPPINA, Santa Fe, 2004

"As the comical power-hungry mother passionate to place her idiotic son upon the throne, soprano Christine Goerke effortlessly tosses off long passages of difficult music while simultaneously demonstrating her skills as a comedienne with perfect timing."
—David Gregson, Opera Critic, San Diego Magazine

"Goerke, daring and compelling in physical comedy and tragic declamation alike, made a splendid Agrippina, vocally dark, full and commanding, verbally pointed in both recit and cantilena, spitting out yards of glittering coloratura. .... She ended the act with a brilliantly vocalized and acted "Ogni vento." Here and at the end, where having achieved her goal of placing her son on the throne, she remains as unfulfilled as Mama Rose in "Gypsy." Negrin and the soprano imaginatively went beyond the literal sense of the text to create memorably vivid theater. In "Rinaldo," "Alcina" and now "Agrippina," Goerke has brought tonal scope and richness to Handel's music. Some company must offer her Gluck's sublime "Armide," a title role written as if for her histrionic and vocal gifts. "
— Gay City News

ALCINA at New York City Opera, September 2003

"Soprano Christine Goerke brought to the starring role of the medieval femme fatale a full-throated and vibrant spinto soprano, exciting musical attack, and a strikingly handsome stage presence."
—Gay City News

"Christine Goerke, an American lyric soprano with a powerful voice, drew a musically stunning portrait of a woman who abuses her powers and pays the price. From haughty and domineering to human and needy, she realized her role faultlessly."

As Bellini's NORMA, Seattle Opera, February 2003

"What a debut! Goerke's huge, supple voice has a beautifully creamy quality, plenty of expressive power and some thrilling top notes. With the most lyrical support from conductor Edoardo Muller and the orchestra, Goerke carved lovely phrases and invested every note with meaning. She's a compelling actress too, fully acting the role with bold charisma."
—Melinda Bargreen, The Seattle Times

As Donna Anna in Mozart's DON GIOVANNI, Covent Garden, February 2002

"Christine Goerke's Donna Anna rose to the challenge of both arias with securely founded tone, and dramatic command."
—George Hall, Opera News

"... Christine Goerke's Donna Anna was plush-toned and beautifully focused."
—John Allison, Opera magazine

As the Female Chorus in Benjamin Britten's THE RAPE OF LUCRETIA, Glimmerglass Opera, July 2001

"And Ms. Goerke, as usual, had everything: rich and full sound, interpretive insight, affecting expressivity."
—Anthony Tommasini, The New York Times

As the Peri in Schumann's DAS PARADIES UND DIE PERI, Mostly Mozart Festival, August 2001

"Mostly Mozart's Peri was Christine Goerke, whose powerful voice, sound technique, and honest passion are always good to hear. Ms. Goerke carried Schumann's finale almost single-handed; the pleasure she takes in the act of singing is communicable."
—Bernard Holland, The New York Times

As Armida in Handel's RINALDO, New York City Opera, 2000

"The singing is little short of spectacular – no surprise about that, since remarkable Handel singers are now plentiful where a short time ago there were precious few. Christine Goerke not only plays Armida with sly wit, but she also sings the exacting fioriture and lyrical arias with razor-sharp precision and elegant musicianship. "
—Peter Davis, New York Magazine

"Goerke sings Armida with commanding vocal power and verve, and she acts the role with a nice frosting of tongue-in-cheek humor. The crowd-pleasing finale to the second act features many comic and pyrotechnical diversions, culminating in an exploding harpsichord. "

"One of their thoughts is that evil is measurably ridiculous, and they are fortunate enough to have an Armida (Christine Goerke) who sings with excellent force and control while projecting a Bette Midlerish tongue-in-cheek. ....(David Daniels) and Ms. Goerke are authentic Handelians and give the City Opera's production authenticity."
—Anthony Tomassini, The New York Times

As Iphigenie in Gluck's IPHIGENIE EN TAURIDE, New York City Opera, 1997

"Christine Goerke ... is an ideal Iphigenie ... The voice is big but full of delicate shadings."
—David Patrick Stearns, USA Today

"[Goerke] sang with uncommon warmth and opulence buoyed by virtually unflagging power."
—Martin Bernheimer, Newsday


"... soprano Christine Goerke, hands down the finest interpreter of this part since Galina Vishnevskaya."
—, Ted Libbey