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Gordon Gietz

  • Tenor


Gordon Gietz press reviews

Critical Acclaim
“The Nationale Reisopera presented the best Contes d'Hoffmann I have attended anywhere (November 13). (...) The singing of the principal roles was memorable. Young and idealistic, Gordon Gietz seems a perfect Hoffmann, coping with all the heroic, poetic and bitter aspects of his music with radiant tone and excellent French. (…) A full audience rapturously greeted this glorious production: opéra fantastique indeed.”

Michael Davidson, Opera, April 2008


“Gordon Gietz, an attractive Canadian baritone who as the young Stingo [in Sophie’s Choice], was charming as Jack [in Midsummer Marriage].”

HE Elsom,, November 19, 2005

“Canadian tenor Gordon Gietz was a lyrical Jack…”

Dominic McHugh,, November 2005


“Gordon Gietz is too a fine interpret: sexy and tender, irresistilby young, making his Hoffmann equally bewildered. Vocally, he surmounts the length of the role and it high tessitura without losing the thread of a well articulated French.”

("Gordon Gietz est lui aussi un fin interprète: sexy et tendre, irrésistiblement jeune, son Hoffmann est d'autant éperdu. Vocalement, il surmonte la longueur du rôle et sa haute tessiture sans jamais perdre le fil d'un français bien articulé.")

Le Monde de la Musique, February 2005


“They will hear a young American tenor, Gordon Gietz, sing with refinement and a splendid voice the difficult role of Hoffmann.”

("Ils entendront le jeune ténor américain, Gordon Gietz, chanter avec raffinement et une voix splendide le difficile rôle d'Hoffmann.")

La Croix, December 27, 2004


"Clearly, Mr. (Jonathan) Miller's playful contemporary imagery resonated with the cast, for they delivered breezy, dynamic and musically elegant portrayals…he (Gordon Gietz) brought an engaging youthful ardor to his portrayal of Ferrando."

The New York Times, August 12, 2004


“Gordon Gietz, Alfred de premier ordre ..."
[Gordon Gietz, first class Alfred ...]

Opéra International, February 2004


“... Mary Dunleavy et l'Alfred bien chantant de Gordon Gietz leurs volaient donc la vedette ..."
[...Mary Dunleavy and the well-sung Alfred of Gordon Gietz stole the show...]

La Croix du Midi, December 11, 2003


“Le Steva de Gordon Gietz, hâbleur et vain, a ce qu’il faut de lâcheté dans le regard et de terreur dans la voix."
[The Steva of Gordon Gietz, boaster and vain, has what is needed of cowardice in the eyes and terror in the voice.]

Res, May 22, 2003

“Gordon Gietz was suitably arrogant as Steva."

Herald Tribune, May 21, 2003

“Uniquely golden, the Steva of Canadian tenor Gordon Gietz has no other rival except the Laca of Stefan Margita, in terms of production, projection and exceptional legato, but above all in terms of his idiomatic natural color.”

Libération, May 20, 2003

“[Gordon Geitz as Bénédict] was doubled by the actor David Hyde Pierce. Those two artists played off each other charmingly. …Mr. Geitz [is] a dashing and lively young performer.”

New York Times, April 14, 2003

“[In Picker’s Thérèse Raquin] Tenor Gordon Gietz is riveting and sonorous in Camille's ghost aria.”

Joshua Rosenblum, Opera News, November 2002

“Mr. Gietz is charming and sympathetic as young Stingo [in Maw’s Sophie’s Choice], singing with lyrical ardor yet anguished power when challenged by Nathan or in despair over Sophie.”

Anthony Tommasini, The New York Times, December 9, 2002

“Gordon Gietz makes a successful Glyndebourne debut, with him disclosing a sweet-toned tenor.”

The Times (London), May 23, 2001

“Gordon Gietz has one of the most gorgeous tenor voices heard in some time, as full as it was sweet. And with his fluency with the coloratura, he was able to give added meaning to the flurry of little notes.”

Saint PaulPioneer Press, December 15, 2000

“Gordon Gietz was splendid, notably in the last act’s beautiful moonlight serenade.”

New YorkNewsday, October 29, 1999