"Dead Man Walking with Cincinnati Opera,
Margaret Jane Wray as Sister Helen"
Photo by Philip Groshong |
Reviews
Fort Worh Opera Recital
of Living American Composers
"Garland's instrument is flexible, supple, light of timbre, and agreeable, the singing never less than polished. But his trump card is communication: he sang with a clarity to render printed texts mostly superfluous, and the range of expression, from sharply honed comedy to solemn introspection, from dramatic outburst to tender lyricism was limitless yet free of self-consciousness, of artifice. The fine art of poetry in music has found a rare ambassador." -- Matthew Gurewitsch, Opera Now, Sept/Oct 2007
Dayton Opera
Il barbiere di Siviglia
"In the title role, Andrew Garland scores high marks as Figaro, delighting the audience not only with his attractive baritone voice and engaging good looks, but also his knack for physical comedy. He sings with apparent ease, and shows no sign of strain even up to high A. His star turn is, of course, the famous 'Largo al factotum,' which he dispatches with aplomb while entertaining the audience with props and copious stage business. His fast passagework and patter are excellent. As if that weren't enough, Garland also knocks out an enviable sustained high G at the end of his aria."
-- Eric Street, Dayton City Paper April 2, 2008
Dayton Opera
Il barbiere di Siviglia
The opera is rightly named after its
principal character, as amply demonstrated by Andrew Garland. Garland
bounded about the stage with all the grace and skill of a ballet dancer,
plus the poise of a regal nobleman gone slumming. For sheer beauty of voice
and supreme musicality, Garland scored the highest marks. He has a voice of
dark honey hue, a graceful agility in coloratura and a winning way with the
words, capped by a bubbling, enthusiastic personality: one could wish for no
more in a Figaro. -- Charles Parsons Opera
News July 2008
Opera Company of Philadelphia
La Cenerentola
"Baritone Andrew Garland as Dandini, servant to Don Ramiro, was a last-minute replacement... but you would never know it. His instrument possesses both clarity and agility, and he moves as one who had been rehearsing with the cast all along."
-- John Fidler, Philadelphia Reading Eagle November 14, 2006
Marilyn Horne Foundation
Recital of Living American Composers
“Mr. Garland is a distinctly American presence: a big voice which he hurled again and again out into the live and vibrating room. He’s an able and comfortable performer, and a sincere one: throwing in humorous touches without seeming slick or dumb; sometimes taking hold of a note and holding on to it until it truly came to mean something.” -- Anne Midgette, New York Times, April 23, 2005
American Opera Projects
This is the Rill Speaking - Lee Hoiby
Suffice it to say that we can expect further great
performances from [him], and that the future of American opera is in good hands. --Arlo
McKnnon, Opera News July 2008
San Francisco Opera Center
Schwabacher Debut Recital
“Andrew Garland has a gorgeous, rich baritone voice, with an even, well-produced tone…beauteous sound…passionate.” -- San Francisco Classical Voice, February 22, 2004
Art Song of Williamsburg
Recital of Living American Composers
“Garland was a total artist, bringing to the stage impressive vocal skills, presence, and a strong sense of the theater. His baritone was round and rich…he was powerful and compelling. When he sang, you were willingly swept into his world of song and poetry, so expertly blended. Garland defined the Art Song mission. He brought to each song and poem an inner interpretation that hit at the heart of the sentiment. He also externalized those interpretations through meaningful gestures, both grand and small, that added meaning to the moment. When he sang of the howling sound of wolves in Kohn’s “California,” he howled. When he sang… from the child’s perspective, he was that child. When he sang from Cipullo’s “Glance,” he was despair itself. When he sang the miner in the desert, he perished. And on and on in glorious art song style. Never have 29 songs passed so quickly, so enternainingly, so grandly.”
-- John Shulson, The Virginia Gazette, February 15, 2007
Delaware Symphony
Carmina Burana
“Baritone Andrew Garland is first-rate.” -- Tom Butler, The News Journal, March 10, 2007
Nevada Opera
La Cenerentola
“Andrew Garland as the expressive valet Dandini was so entertaining to watch that one almost didn’t notice how well he attacked each new song.” -- Jackie Green, Reno Gazette-Journal, February 9, 2007
Cathedral Choral Society
Eric Zeisl Requiem Ebraico (Washington premiere)
“baritone Andrew Garland gave beautiful solos, especially in the wonderfully rich and expansive closing passages..” -- Daniel Ginsberg, The Washington Post, November 15, 2005
UMS, Ann Arbor, MI
Handel's Messiah
“baritone Garland, so clear in his lower ranges and so musical in his rhythmic acuity, clearly has a fine career before him.” -- Susan Isaacs Nisbet, The Ann Arbor News, December 5, 2005
Virginia Symphony
Handel's Messiah (Mozart Version)
“Baritone Andrew Garland was even more impressive in the sheer speed and clarity of his figuration,”
-- Lee Teply, The Virginian-Pilot, December 17, 2005
|
 Garland as Dayton's Schaunard with Ryan Taylor, Todd Gerre, and Daniel Cole. Photo by Andy Snow
| Dayton Opera
L a Cenerentola
“Andrew Garland had a special, once in a lifetime, debut. His daughter was born, a week early, during the final rehearsals. Undaunted, he sang the part of Dandini with vocal excellence and clever stagecraft.” -- Burt Saidel, The Oakwood Register, January 24, 2006
Opera Plus!
Il Barbiere di Siviglia
“Garland had a winning way with Figaro as an agile actor and singer. I expect the opera world will hear more of Garland.”
-- Travis Rivers, The Spokesman-Review, October 10, 2005
Cincinnati Opera
Il Barbiere di Siviglia
“There was lots of tonal allure and sophistication from Andrew Garland’s fresh, vigorous Fiorello.”
-- Charles Parsons, Opera News, October, 2005
Seattle Opera (Young Artists Program)
Le Nozze di Figaro
“A fine, expressive baritone.” -- Philippa Kiraly, Seattle Post-Intelligencer April 4, 2005
Saramento Choral Society and Orchestra
Mozart Coronation Mass and Dvoràk Te Deum
“Andrew Garland’s voice punctuated the [Dvoràk] Te Deum with focused yet emotive passages. [His] powerful ‘Tu rex Gloriae’ helped end the afternoon on a highly spiritual note.” -- Sacramento Bee, October 19, 2004
Savannah Music Festival
Opening Night Concert
“Powerful stage presence.” -- Savannah Morning News, March 21, 2004
Grandin Chamber Music Festival
I Was There: Five Poems of Walt Whitman (Hoiby)
"Baritone Andrew Garland, with self-assurance and impeccable diction, poured out wave after wave of brightly ringing, rock-solid, beautifully textured tone, all finely focused while ranging from the intimate to the clarion." -- Charles Parsons, American Record Guide, November 2001
Cincinnati College-Conservatory of Music
The Crucible
“Clear vocalism and burning intensity.” -- Charles Parsons, Opera News, May, 2002
Cincinnati College-Conservatory of Music
Three’s Company
“Cooly confident…a voice of distinct beauty.” -- Charles Parsons, American Record Guide, September, 2002
Flint Symphony Orchestra
I Was There (Hoiby) and “Largo al factotum” (Rossini)
"His strong baritone voice charmed the audience. "Garland's rich tone, combined with good diction and phrasing, produced one of the concert's most pleasing moments.” “…delightful.” “Garland's musical rendering of the [“Largo al factotum”] was both amusing and musically enjoyable, and resulted in a well-deserved standing ovation.” -- The Flint Journal, October 7, 2002 |
