izarro in "Fidelio"

"Andrew Costello as Pizarro was vocally and dramatically 

As Pizarro in "Fidelio"

 

 

"Andrew Costello  as Pizarro was vocally and dramatically unbeatable." 

Giessener Allgemeine Zeitung, 6/2001   

                                                                    

 

 "Andrew Costello was dramatically convincing as Pizzaro.  Mr. Costello demonstrated that he had more than enough vocal   presence to sing over the voluminous orchestra.

 Giessener Anzeiger, 6/2001

 

 

 

As Jochanaan in "Salome"

 

 

"The American Andrew Costello's physical stature and focused baritone would
be an asset to a major theater.
Hallandsposten (Sweden) April 2005

"Andrew Costello as Jochanaan showed great stage presence in addition to
having a powerful baritone voice."
Anzeigenkurier Neustrelitz (Germany)  December 2004

"Andrew Costello is ready to sing at major opera houses."
Opera Gazette Antwerp (Belgium) December 2004

 

"Andrew Costello brings to the role of John the Baptist equal parts sublime religious fervor and complete repugnance at  Salome's licentious advances. He sings with resonant power and great beauty." 

Des Moines Register, 6/2002  

 

 

As Mephisto in "Faust" (L. Spohr)  

 

"In view of his likewise voluminous and agile voice, we believe Andrew Costello (Mephistopheles) is on his way to  a fine career.

 Opernwelt 12/99

 

 

"Andrew Costello, who portrayed the role of Mephistopheles in a demonic as well as ironic fashion, is an excellent actor.  His solo aria was well-crafted as well as vocally convincing.

 

Dill Zeitung, 10/1999

 

 

 

As Basilio in "Il Barbiere di Siviglia"

 

 

"A more spicy interpretation than Andrew Costello's version of the aria 'La calunnia' does not exist."

Wetzlarer Neue Zeitung, 12/2001

 

"Andrew Costello created from Basilio a wonderful comic figure.

 Giessener Anzeiger, 12/2001

 

 

 

As Escamillo in "Carmen"

 

 

"Andrew Costello sang the Toreador Song with bravado." 

Giessener Anzeiger, 1/2002

 

"In this concert version of Carmen, Andrew Costello lacked only a Matador costume."

Giessener Allgemeine, 1/2002

 

"Andrew Costello impressed the audience with his brilliant voice…. Carmen, Don Jose and  Escamillo received the lion's share of applause at the end of the performance."

Wetzlarer Neue Zeitung, 1/2002  

 

 

 

As Hopkins in "Maschinist Hopkins" (Max Brand)

 

"Visionary and grand are words to describe Andrew Costello's baritone.  His sharp diction added to his demonic  presence on stage.   Frankfurter Rundschau, 12/1999

"Andrew Costello was a downright demonic presence onstage."

Das Orchester 12/1999

  

 

                                                                                                          

As the Music Master in "Ariadne auf Naxos"

 

"Andrew Costello was convincing through his dignified appearance and outstanding vocalism."

Gießener Anzeiger, 2/2002"

 

Andrew Costello was touchingly funny as the bespectacled giant and was in good vocal form."

Gießener Allgemeine, 2/2002

 

 

 

As the High Priest in "Samson et Delila"

 

"Andrew Costello, who portrayed the role of the High Priest of Dagon, showed that he could also  effortlessly interpret the role of a power-conscious leader."

Wetzlarer Neue Zeitung, 1/2001

 

 

 

As Bluebeard in Bartók’s "Bluebeard's Castle"

 

"The cast was ideal with Andrew Costello as the gloomy yet charismatic Bluebeard."

Giessener Allgemeine Zeitung, 9/2001

 

"With great concentration and nuance, Andrew Costello mastered the Hungarian idiom." 

Giessener Anzeiger, 9/2001

 

 

As Premysl in "Šárka" (Janácek)

 

"Andrew Costello persuaded the audience with his sonorous voice."

Crescendo, 4/2001

 

 

As Guilbert in "Der Templer und die Jüdin" (Marschner)

 

"Andrew Costello, with his expansive baritone, portrayed Guilbert as a soul in turmoil."

Opera Quarterly, 3/2001

 

 

In the Title Role of "Der Vampyr" (Marschner)

 

"In the role of Lord Ruthven, Andrew Costello sang with much pathos."

Gießener Allgemeine Zeitung,  11/1999