As Brünnhilde at the Canadian Opera Company:
"Up to this point, Goerke had shown us she possesses everything a great Brunnhilde must have: dignity, stature, and a voice of molten gold. But when she opened up the full depth of her vulnerability to us and showed us the frightened little girl inside the Wangerian goddess, that's when this woman's unique powers were revealed to us."
- The Toronto Star
"Christine Goerke's gleaming tones sliced through the glittering orchestra.
- The New York Times
As Brünnhilde at the Houston Grand Opera:
"Christine Goerke is the Brünnhilde of dreams, progessing from girlish enthusiasm to defiance to tragic acceptance, her soprano thrilling from top to bottom."
- Dallas Morning News
"Goerke has grown even more glamourous, even more sensational, her crystalline voice soaring like a genuine warrior and cascading across emotional boundaries."
As the Dyer's Wife at the Metropolitan Opera:
"In a revival of Herbert Wernicke's 2001 production of "Die Frau Ohne Schatten," the soprano Christine Goerke gave a career-transforming performance as the Dyer's Wife, displaying the kind of vocal stamina that Wagner-Strauss fanciers have been awaiting since Birgit Nilsson delivered her last "hojotoho!" "…she can create a character as she sings, linking musical phrases to form dramatic paragraphs.
- The New Yorker
"The cast was excellent, especially Christine Goerke as the Dyer's Wife. She emerged here as a true heir to the daunting dramatic soprano repertory. The Met has big plans for her."
- The New York Times
"Goerke's talents are no revelation to opera regulars, but her performance as the Dyer's hectoring but loving wife launched her onto a new dramatic plane. Even in Herbert Wernicke's eye-peeling production, Strauss's opera remains murky; Goerke, though was a beacon of brilliance."
The 10 Best Classical Performances of the Year
- New York Magazine
As Elektra at the Royal Opera, Covent Garden:
"The American soprano.. proved nothing short of sensational. Imposing of figure and expansive of voice, Christine Goerke .. has everything this killer role requires - an Olympic Gold level of stamina, absolute security of pitch, a rich middle voice, diamantine top register, crisp clarity of diction and the intelligence to paint all the colours of the character’s mercurially psychotic personality. "
- The Telegraph
"The night belonged to Christine Goerke in the title role. Her lament for her murdered father, Agamemnon, was agonising, her anger white hot, her torment exquisite, her dance at once clumsy and febrile. Goerke bestrode this operatic monster with immaculate control. It's hard to imagine better. "
- The Guardian
As Elektra at the Lyric Opera of Chicago:
"The Elektra was Christine Goerke, in her Lyric debut. Goerke sang the unhinged Greek princess to great acclaim in Madrid last season; she had quite a night in Chicago on October 6. Goerke's "Allein, weh ganz allein" revealed a colossal dramatic soprano of an incisive intensely feminine quality that remained gleaming and voluptuous despite the force required to crest the monumental orchestral waves Strauss sets against his protagonist. She consistently won the audience's empathy, even when her obsessive vengefulness became more than a little frightening. Her formidable stamina was the more impressive given her clever employment of dynamics--paticularly the fining away of tone in a recognition scene that tore one's heart out. Goerke was rewarded in her solo call by a rapturous standing ovation that emerged viscerally from the house as an organic reaction to her tour de-force performance."
- Opera News
"Goerke sang her first Elektra last year in Madrid, after years of portraying Chrysothemis, the heroine's fretful younger sister. She's one of the few Elektras around who doesn't sacrifice warm tonal beauty to the knife-edged, gallon-jug singing demanded of every singer who runs this nearly two-hour vocal marathon. Disheveled and distraught when we first see her wandering over the rubble of Macfarlane's grim unit set, Goerke had no trouble whatsoever cutting through the huge orchestra with her big, gleaming sound on Saturday. Such was her heroic stamina that by the end of the performance she sounded energized and ready to do it all over again."
- Chicago Tribune
"The next evening, Lyric Opera of Chicago’s phenomenal Art Deco auditorium hosted Christine Goerke’s triumphant Elektra, a relatively new impersonation, but — now that Deborah Polaski has retired the demanding marathon role — surely the top choice worldwide. Goerke’s still-growing dramatic soprano dominated Andrew Davis’ surging orchestra — no mean feat — remaining attractive virtually throughout.....Goerke’s brilliant performance deserved every minute of the screaming ovation she received."
- Gay City News
As Eboli in Verdi's DON CARLOS, Houston Grand Opera:
Christine Goerke brought a lush, mezzo-quality darkness and intensity to Princess Eboli, Philippe's mistress; she excelled in the Moorish melismas of the Veil Song and the fierce despair of "O don fatale." One of the interpolated numbers in this production was a haunting duet for these two women; it was a beautifully sung moment of quiet despair as Eboli regrets her betrayal of Elisabeth.
- The Wall Street Journal
As Brünnhilde in DIE WALKÜRE with the New Zealand Symphony:
"Christine Goerke's Brünnhilde was the most subtly characterized role, moving from a devoted, almost kittenish daughter to a tragic, broken spirit; a great journey undertaken in full and glorious voice."
-- The New Zealand Herald
As Ariadne in Strauss' ARIADNE AUF NAXOS, Houston Grand Opera:
"Christine Goerke, famous for her interpretation of such dark roles as Wagner’s Ortrud and Kundry and Verdi’s Eboli, brought richness to death-obsessed Ariadne in a performance made luminous by Summer’s disciplined approach to the score."
- Opera Today
As Ortrud in Wagner's LOHENGRIN at Houston Grand Opera:
"Soprano Christine Goerke had all the moods and colors required by the part of the duplicitous and cunning Ortrud, Friedrich's wife and he ultimate source of evil in the story. Her incredulous and mocking "Gott?" (Act II, Scene 1) in response to the humiliated Friedrich's complaints about God's punishments chillingly revealed both Otrud's power and her true nature. Such was Goerke's range and flexibility that she could switch within moments from shrill indignation to tender supplication, then to overpowering exultation. A dramatic high point--perhaps the best moment of the entire performance--was Ortrud's interruption of Elsa's wedding procession; Goerke had all the stage presence and vocal power to stop the ongoing jubilant choral and orchestral crescendo dead in its tracks."
- Opera News
"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."
"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. "
- Houston Chronicle
" A voice like hers comes once in a generation, and I am sure Ms. Goerke will be the next great Dramatic Soprano."
- Houston Examiner
As the Foreign Princess in Dvorak's RUSALKA at the Metropolitan Opera:
"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."
- The New York Times