As Ortrud in Wagner's LOHENGRIN at Houston Grand Opera in November, 2009
"It is Christine Goerke, however, who steals the show. Her stage presence and vocal charisma are so strong that she consistently amplifies the rest of the cast's already impressive performances. Fink's conviction is at its peak and Pieczonka reveals new and exciting aspects of her voice whenever they are interacting with Goerke, whose fearless execution of Ortrud's role throughout is a masterpiece of singing. Even the orchestra and chorus become more and more inspired when she is onstage, creating a truly breathtaking and memorable second act."
—Concertonet.com
Photo © Christian Steiner
"Yet it is Goerke who sets the stage ablaze as the tirelessly scheming Ortrud ? the most volatile role. The power of her voice, her fiery rage and intense determination make her a memorable embodiment of evil. In any medium, nothing boosts a show?s potency like a juicy villainess."
—Houston Chronicle
"Soprano Christine Goerke endows the wicked Ortrud with a devilish glee. She galvanizes our attention with her powerful sound and presence."
—CultureVulture.net
"But the real drama came from his wife Ortrud, played by Christine Goerke. Unfortunately, we do not discover her incredible talent until the second act. From the moment she uttered her first lines, we knew we were witnessing an artist of the highest quality. A voice like hers comes once in a generation, and I am sure Ms. Goerke will be the next great Dramatic Soprano."
—Houston Examiner
At the Bard Summerscape WAGNER FESTIVAL in August, 2009
"An aria from 'Die Feen'¯ recalled Beethoven's 'Fidelio,'¯ especially in the soprano Christine Goerke's impassioned account. The concert's second half was the aesthetic equivalent of whiplash: Wagner's Symphony in C, a youthful work that aimlessly frittered with Beethovenian motifs, was followed by the Prelude and Liebestod from 'Tristan und Isolde,'¯ with ravishing singing from Ms. Goerke. ... the evening belonged to Ms. Goerke, who managed to impart fully realized characterizations of Senta, Elisabeth and Elsa with her soaring voice, gestures and facial expressions."
—Steve Smith, The New York Times
As the Foreign Princess in Dvorak's RUSALKA at the Metropolitan Opera in March, 2009
"The soprano Christine Goerke brought a blazing tone and sassy hauteur to the role of the Foreign Princess, who woos the Prince away from Rusalka only to condemn him."
—Steve Smith, The New York Times
As Fidelio/Leonore in Beethoven's FIDELIO at the Opera Company of Philadelphia, October 2008
"... as Fidelio/Leonore, soprano Christine Goerke used [Beethoven's more awkward vocal lines] theatrically: Her palpable determination to do justice to Beethoven (who gave her character the opera's most challenging music) fused with her character's commitment to free her husband. It was a triumph. Critics don't usually cheer. But I did."
—David Patrick Stearns, Philadelphia Inquirer
"Soprano Chrstine Goerke was a magnificent Leonore (disguised as Fidelio) as the faithful, passionate and intelligent wife who refuses to allow the powers-that-be to imprison and execute her husband Florestan simply for telling the truth. Her acting was straightforward yet intense, and she sang with towering power and touching expressivity."
—Michael, Caruso, Chestnut Hill Local
"In her initial Leonore, Christine Goerke's ever-larger, ringing dramatic soprano could still honor soft dynamics and execute precise vocal filigree. Her wonted honest dramatic commitment, insightful phrasing, and often thrilling vocalism earned deserved cheers."
—David Shengold, Gay City News
As Chrysothemis in Strauss' ELEKTRA at Washington National Opera, May 2008
"Goerke stole the show as Chrysothemis, her voice round, full, dark and easy, sounding more powerful and assertive than anyone else onstage, with the lyrical line of a singer who varies her vocal diet and does not attempt to sing the biggest, loudest roles of which she is physically capable."
—Anne Midgette, The Washington Post
"Equally remarkable was the performance of American soprano Christine Goerke as Elektra's fearful sister Chrysothemis. ... Miss Goerke produces a huge, endlessly supported, yet absolutely lovely tone of enduring strength and honeyed sweetness."
—T.L. Ponick, The Washington Times
"The bearer of an exceptionally clear and brilliant sound that pierces the heart with its pathos, Goerke is a spectacular soprano."
—Kate Wingfield, Metro Weekly
"Christine Goerke, as Elektra's sister, Chrysothemis, produced enough tone for two sopranos. The richness of her grandly scaled sound, which remained warm and appealing even at full throttle, was matched by deeply communicative phrasing and assured acting. Her ecstatic performance in the final moments, delivering the news to Elektra that their brother had slain the guilty pair, was spine-tingling."
—Tim Smith, Baltimore Sun
As Chrysothemis in ELEKTRA at the Maggio Musicale in February, 2008
"Grande successo anche per Christine Goerke, che si cala molto bene nella umanitą di Chysothemis ('sono una donna e voglio un destino di donna'), sottolineandone la dolcezza e i rimpianti con grandissima intensitą e potenza vocale."
—teatro.org
As Brünnhilde performing the Immolation Scene with the Duluth Superior Symphony Orchestra, October 2007
"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."
—Duluth News Tribune
As Alice Ford 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."
—Philadelphia Inquirer
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
"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."
—CultureVulture.net
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."
—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."
—Opera News
"... Christine Goerke's Donna Anna was plush-toned and beautifully focused."
—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."
—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."
—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. "
—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. "
—Variety
"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."
—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."
—USA Today
"[Goerke] sang with uncommon warmth and opulence buoyed by virtually unflagging power."
—Newsday
WAR REQUIEM - Britten
(recording)
"... soprano Christine Goerke, hands down the finest interpreter of this part since Galina Vishnevskaya."
—Amazon.com
Christine Goerke is represented by
Caroline Woodfield
Opus 3 Artists
470 Park Avenue South, 9th Floor
New York, NY 10016
Tel: 212-584-7526
Fax: 646-300-8226
cwoodfield@opus3artists.com
Site © 2010 Christine Goerke