Assunta in Menotti's The Saint of Bleecker Street | Washington Opera
“Eugenie Grunewald used her superbly molded mezzo to great effect.”
OPERA NEWS
The Mother in Menotti's Amahl and the Night Visitors | Washington Opera
“Eugenie Grunewald, the mother, dominated the evening with the quality of her singing and her dramatic impact.”
THE WASHINGTON POST
Mother Goose & Baba the Turk Stravinsky’s The Rakes Progress | Toledo Opera
“Eugenie Grunewald furnished chesty strength for Mother Goose’s ungrateful music; she and MacPherson romped naughtily behind an upheld sheet. Resplendently gowned by John Lehmeyer, Grunewald’s clarion Baba the Turk proved very funny but also commanded sympathy.”
OPERA NEWS
The Mother in Menotti's Maria Golovin | Opéra de Marseille
“An impeccable cast....the only one to really master her text from beginning to end was the impressive American mezzo Eugenie Grunewald, whose rich timbre and strength of conviction were a marvel in the character of the Mother.” (Translated)
“Une distribution impeccable..... La seule à vraiment maitriser son texte de bout en bout est l'impressionante mezzo américaine Eugenie Grunewald, dont le timbre riche et la force de conviction font merveille dans le personnage de la Mère.”
OPÉRA MAGAZINE
Fricka in Wagner's Die Walküre | Austin Lyric Opera
“Eugenie Grunewald (singing with both casts) practically flamed as Wontan’s angry wife, Fricka. She nagged and jostled with Wotan in their great Act II skirmish and portrayed the goddess in stern, rich, clarion tones. She brought hectoring up to the level of heroism.”
AUSTIN AMERICAN STATESMAN
Amneris in Verdi's Aida | Gran Teatre Del Liceu
“Grunewald displayed a voluminous mezzo-soprano that glowed in tone. There is a strong, focused quality to her voice, which can cut through ensembles and the flooding sound of an orchestra.”
THE MIAMI HERALD
Azucena in Verdi's Il trovatore | Austin Lyric & Seville, Spain
“Azucena was sung by Eugenie Grunewald, who delights in a solid technique and seamless mezzo with a brilliant extension. She is one of those rare performers who can reach off the stage a grab the listener by the throat.”
OPERA NEWS
Frugola in Puccini's Il tabarro | Lyric Opera of Chicago
“Eugenie Grunewald made a strong Lyric debut in Frugola. Her mezzo-soprano is rich, and her Frugola was a warm and lively character, whether playing the clown or dreaming about a little house in the country.”
CHICAGO SUN-TIMES
The Witch in Humperdinck's Hansel + Gretel | Lyric Opera of Chicago
“Ms. Grunewald was simply astonishing, proof that witches come in all forms.”
THE WALL STREET JOURNAL
Santuzza in Mascagni's Cavellleria Ruscticana | Florida Grand Opera
“…the production had a knockout Santuzza - with a high cholesterol mezzo-soprano and a commanding stage presence in Eugenie Grunewald.”
THE KANSAS CITY STAR
Leonora in Donizetti's La Favorita | Gran Teatre del Liceu
“Eugenie Grunewald, as Leonore, intelligently solves the difficulties of her passagio and takes advantage of her always brilliant voice.”
ABC MADRID (translation from Spanish)
Cuniza in Verdi’s Oberto
“Best of all was mezzo soprano Eugenie Grunewald in the role of Cuniza. Her mezzo soprano voice has majesty and power, and it is unusually even in all registers………………..She acts with such dignity and control that the listener was won over.”
NEW YORK TIMES
Venus in Wagner's Tannhäuser | Austin Lyric Opera
“As Venus, mezzo-soprano Eugenie Grunewald sang seductively and brought a finger-licking tawdriness to the role.”
AUSTIN-AMERICAN STATESMAN
