The Wall Street Journal
“Ms. Goerke displays a big, blazing soprano that not only has the gale-force power and sheen to slice through Strauss’ huge orchestra, but also seamless legato and an entire paintbox of colors.”
The New York Times
“As […] Christine Goerke basked in a standing ovation in February with the Canadian Opera Company here, the moment took on extra resonance. With her triumph, she cemented her arrival as the reigning American dramatic soprano of the day.”
Dallas Morning News
“Christine Goerke is the Brünnhilde of dreams, progressing from girlish enthusiasm to defiance to tragic acceptance, her soprano thrilling from top to bottom.”
” A voice like hers comes once in a generation…”
Soprano Christine Goerke has appeared in the major opera houses of the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Washington National Opera, Houston Grand Opera, Seattle Opera, Opera Company of Philadelphia, Pittsburgh Opera , New York City Opera, Glimmerglass Opera, Royal Opera House Covent Garden, Paris Opera, Théâtre du Châtelet, Théâtre du Capitole in Toulouse, Deutsche Oper Berlin, La Scala, Maggio Musical Fiorentino, Teatro Real in Madrid, Teatro Municipal de Santiago, and the Saito Kinen Festival. She has sung much of the great soprano repertoire, starting with the Mozart and Handel heroines and now earning critical acclaim for the dramatic Strauss and Wagner roles. She has received praise for her portrayals of the title roles in Elektra, Turandot, and Ariadne auf Naxos, Brünnhilde in the Ring Cycle, Kundry in Parsifal, Ortrud in Lohengrin, Leonora in Fidelio, Eboli in Don Carlos, The Dyer’s Wife in Die Frau ohne Schatten, Cassandre in Les Troyens, Ellen Orford in Peter Grimes, Female Chorus in The Rape of Lucretia, Alice in Falstaff, and Madame Lidoine in Dialogues des Carmelites.
Ms. Goerke has also appeared with a number of the leading orchestras including the New York Philharmonic Orchestra, Boston Symphony Orchestra (in Boston, Carnegie Hall, and the Tanglewood Festival), Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, National Symphony Orchestra, Radio Vara (at the Concertgebouw), Sydney Symphony, New Zealand Symphony, the Orchestra of the Age of Enlightenment, the BBC Symphony Orchestra at the BBC Proms, and the Hallé Orchestra at the Edinburgh International Festival. She has worked with some of the world’s foremost conductors including James Conlon, Sir Andrew Davies, Sir Mark Elder, Christoph Eschenbach, Claus Peter Flor, James Levine, Sir Charles Mackerras, Kurt Masur, Zubin Mehta, Andris Nelsons, Seiji Ozawa, David Robertson, Donald Runnicles, Esa-Pekka Salonen, the late Robert Shaw, Patrick Summers, Jeffery Tate, Christian Thielemann, Michael Tilson Thomas, and Edo de Waart.
Ms. Goerke’s recording of Vaughan Williams’ A Sea Symphony with Robert Spano and the Atlanta Symphony Orchestra won the 2003 Grammy Award for Best Classical Recording and Best Choral Performance. Her close association with Robert Shaw yielded several recordings including Brahms’ Liebeslieder Waltzes, Poulenc’s Stabat Mater, Szymanowski’s Stabat Mater, and the Grammy-nominated recording of Dvorak’s Stabat Mater. Other recordings include the title role in Iphigenie en Tauride for Telarc and Britten’s War Requiem, which won the 1999 Grammy Award for Best Choral Performance.
This season, Ms. Goerke’s many engagements include Turandot at the Metropolitan Opera, the complete Ring Cycle at the Lyric Opera of Chicago, Elektra at the Vienna State Opera, and performances of Act II of Tristan und Isolde with the National Symphony Orchestra at both the Kennedy Center and Lincoln Center. And in the summer of 2020, she will make her long awaited debut at the famed Bayreuth Festival in Götterdämmerung.
Ms. Goerke was the recipient of the 2001 Richard Tucker Award, the 2015 Musical America Vocalist of the Year Award, and the 2017 Opera News Award.