|
Concert Repertoire
|
| As Carmella
in The Jewels of the Madonna |
|
"Mezzo Eugenie Grunewald, always a pleasure to hear, sang the brief role of Gennaro's mother, Carmela ,with plummy, chesty richness."
-Opera News
|
|
"Carmela, Gennaro�s mother, was like Mamma Lucia from Cavalleria Rusticana, a source of comfort to her son lost in a tragic love. Eugenie Grunewald�s
burnished mezzo-soprano was a joy to behold and she was a vital presence to this impassioned ensemble. Her phrase referring to Maliella �What destiny she inherited from her mother I do not know� �Quale destino da sua madre nascendo a creditato non so� left an indelible mark"
-Opera-L
|
"The mezzo-soprano Eugenia Grunewald was the rich-voiced Carmela."
-The New York Times
|
"Eugenie Grunewald sang Gennaro's mother Carmela with the right broad and earthy spaciousness."
-Opera Today
|
|
"Eugenie Grunewald's burnished chest register brought authority and weight to the role of Carmela, the obligatory suffering mother."
-Gay City News
|
|
"Eugenie Grunewald made a welcome local reappearance, lending her substantial, chest-rich dramatic mezzo and stylistic understanding to Carmela, the mamma: the work's lone sympathetic character."
-OPERA Magazine
|
As the Mezzo-Soprano
soloist
in the Verdi Requiem |
|
"...and, best of all, the mezzo-soprano Eugenie
Grunewald.. ..She has a large, plumy voice, which
she deploys with expressive intensity and artistic
intelligence."
-The Washington Post
|
|
"Eugenie Grunewald showed the conception
that Verdi had at that time of a mezzo-Soprano:
the direct relation between Amneris and her part
in the Requiem...Grunewald, with beautiful colors
and superb handling of her different head and
chest registers took it over into her Liber scriptus."
-El Nacional, Caracas
|
"Nor was mezzo Eugenie Grunewald any less brilliant,
for her forceful, dramatic voice also projected
above the choir and orchestra, as in "Liber
scriptus" or paired with Thompson in ''Agnus
dei.""
-The Express Times
|
"Mezzo-soprano Eugiene Grunewald brought a rich top and sonorous chest tones to her demanding duties."
-Los Angeles Times
|
|
"American Mezzo Soprano Eugenie Grunewald
who has a large and velvety voice, gave an impressive
interpretation"
-El Mundo
|
In the Brahms Alto Rhaposody |
"The Alto Rhapsody featured mezzo-soprano Eugenie
Grunewald in a literally rapturous performance.
Grunewald is a marvelous singer whose voice has
a supple expresiveness at any volume -- a quality
put to excellent use here. Her voice had a rich,
dark hue in the early part of the work mirroring
the music's sense of despair, but rising to a golden
sound as the Male Chorus joined in the radient finale."
-The Tulsa World
|
In Mahler's Songs of a Wayfarer |
"Grunewald gave a heart-stopping performance
of Gustav Mahler's Songs of a Wayfarer. With intelligence
and style as well as a commanding voice, Grunewald
delivered interpretations that captured the essence
of each song.
..............they brought the packed house to its
feet."
-The Columbus Dispatch |
As Margherita in Guilliermo Ratcliff |
"The star of the evening was surely Eugenie Grunewald who offered a very musical, intensely dramatic interpertation of Margherita. The fiery Mezzo Soprano showed a richly colored, earthy tone and a perfectly mystical stage presence that is tailor made for this role".
-Das Opernglas |
"The real heavy hitters of the evening, however, were dramatic
mezzo Eugenie Grunewald, as "mad" Margherita, the prophetic ballad singer, and
baritone Brian Davis as Douglas, the intrepid bridegroom who
faces Ratcliff down. These troupers, like Silipigni, sensed from
the solar plexus what Mascagni was up to. Over rough spots
as well as high spots, they took the measure of his risky score."
-Opera News |
| |
