One Touch of Venus

Ute Gfrerer gives her Venus the statuesque dignity of a goddess as well as the flexible surrendering of a loving woman. The wise "Speak low" is just as well interpreted as the languishing "Foolish Heart" or the playful "That's Him".
Mitteldeutsche Zeitung: Andreas Hillger


Ute Gfrerer ( Venus ) with godlike determination was fantastic in her acting and singing.
Volkstimme: Helmut Rohm

Ute Gfrerer as Venus hits on the Weill sound in the musical numbers excellently (almost as if she was a 1:1 copy of Mary Martin*)
Dr. Kevin Clarke

*the original Broadway Venus

Mit einem Charisma, so stark wie ihre schöne Stimme, interpretierte Ute Gfrerer
Annas sündige Reise auf exzellente Art.
"standing ovations" verlangen nach einer Zugabe! Ute Gfrerer gab gleich zwei begleitet von Pianist Sergei Osadchuk, und die zweite - "Youkali" war das Schönste des ganzen Abends!
Inga Helene Juul/ Harstad Tidende mandag 22. juni 2009

THE SEVEN DEADLY SINS, Festival Nord Norge, Harstadt, Norway

With a charisma as strong as the beautiful voice, Ute interpreted Anna's sinful journey in an excellent way.
Standing ovations demand for an encore. Ute Gfrerer performed two with the pianist Sergei Osadchuk, and the last «Yokali», was also the most beautiful this night.
By Inga Helene Juul/ Harstad Tidende

Ute Gfrerer interpreted Kurt Weill and Berthold Brecht ” The Seven Deadly Sins” in a phenomenal way, and the encore was - if possible - even better.
Bjørn H. Larssen

Ute Gfrerer interpreted Weill's music and Brecht's lyrics to perfection.
She sang both personalities (of Anna) in a way that absorbs us strongly. She supported the lyrics with significant facial expressions and small gestures.
Marianne Lystrup

DVD The Merry Widow

Ute Gfrerer (Valencienne) and Piotr Beczala (Camille) are a dream couple. Artists, who really can sing Lehar well and manage to act enchantingly. It sizzles with erotic, which so often is either forgotten or killed by too much directness.
der Opernfreund

ONE LIFE TO LIVE, semi-staged recital with Broadway compositions by Kurt Weill

Ute Gfrerer is really a phenomenal professional reciter and singer. In her flight of songs she used every aspect of her unusually beautiful and multifaceted voice, and showed a wide ranging spectrum of sound and expression. Gfrerer can play a passionate diva and a desperate young woman with the same authority. She can be cheeky and vulnerable, presents large muscial phrases and dramatic context. She shows zest on stage and can sing in a commanding piano voice the intensity of which is experienced by the audience with fascination. The song of "No and Yes" from the Threepennyopera gave a glimpse at the abilities of Ute Gfrerer as a character actress.

Mitteldeutsche Newspaper

THE SEVEN DEADLY SINS, Hercules Saal Munich, Bavarian Radio Symphony Orchestra

Soprano Ute Gfrerer interpreted the double role of Anna I and Anna II with utter dedication. She perfectly articulated Brecht's text, at times flirtatious, also edgy, and with occasional melancholic gloom.

Sueddeutsche Newspaper

Soprano Ute Gfrerer perfectly mixed classical art (of song) with satirical poignancy to depict the character of Anna raised by her family for lifelong self-exploitation.

Munich Daily Newspaper

SEVEN DEADLY SINS, Cologne Philharmonic

Ute Gfrerer touchingly impersonated the broken Anna, a daughter sold by her own family, with her conforming alter ego.

Cologne Stadtanzeiger Newspaper

A perfect impression was left by Ute Gfrerer, who presented a very solid interpretation of Weill's "Deadly Sins".

Cologne Rundschau Newspaper

THE SEVEN DEADLY SINS, Kurt Weill Festival , Dessau 2009

Anna 1 was played by the Austrian soprano Ute Gfrerer, whose acting and, most of all, singing impressively convinced the audience.

Magdeburger Volksstimme Newspaper

MY FAIR LADY, Bregenz

Ute Gfrerer as Eliza is a rare piece of luck [...] The singer with a multi-faceted, shining soprano [...] is very credible both as the beautiful cockney guttersnipe with a shrill voice, and as the grande dame full of natural charm and dignity.

Schwäbische Zeitung

Ute Gfrerer, the acclaimed opera and operetta singer, is pure vocal luxury in her portrayal of a spirited and emotional Eliza.

Neue Vorarlberger Tageszeitung

DON GIOVANNI, (Mozart), Bregenz

Ute Gfrerer as Donna Elvira offers a first-rate vocal performance without a trace of blurring her coloratura, not only essentially tuneful and dramatically built-up but also well-measured for both eye and ear.

Der Standard



In this constellation Donna Elvira stands out. Ute Gfrerer with her stage presence and sparkling voice plays the part of a woman who tries to free herself from the coils of love.

Neue Vorarlberger TZ



The impressive Ute Gfrerer is an Elvira in whom even at the height of anger, love still swings.

Österreichische Musikzeitung, Februar 2001

WALTZ DREAM (O. Strauss)

Outstanding: Despite her cold, Ute Gfrerer's very touchingly warm portrayal of Franzi was fascinating not only in her very genuine stage appearance but also vocally

Ober Österreichische Nachrichtung


The Palm is due to Ute Gfrerer (Franzi) whose thoroughly convincing voice and acting were highly professionally directed.

Kronen Zeitung 12.7.2004


Ute Gfrerer was a vocally and theatrically conquering Franzi.
Neues Volksblatt 12.7.2004

TANIA (A. Davies), Vienna

Ute Gfrerer (Patty/Tania) makes it vocally and impressively clear that the circumstances do not correlate to her emotional expectations.

The Standard

.... the outstanding Ute Gfrerer in the title role ...
Kurier
Photos c Anna Maria Birnbauer

THE MARRIAGE OF FIGARO (Mozart), Reinsberg

The choir was also convincing, with Ute Gfrerer right out in front as a coquette, shrewd and vocally brilliant Susanna.

Niederösterreichische Nachrichten


Ute Gfrerer should be called Susanna. It's unthinkable that Figaro would not to fall in love with her. She joins dominance to devotion credibly. Whether she "turns a jealous scene into a natural picture" in the 4th Act, or is the only one who takes part in every opera ensemble, she is a "young able person, spirited and fun, but not of the almost cheeky gaiety of our deteriorated soubrettes" (Beaumarchais)

Der Neue Merker

COSI FAN TUTTE (Mozart)

Saucy every single moment, Ute Gfrerer makes an independent Despina void of soubrette.

Salzburger Nachrichten



Ute Gfrerer is not only vocally very sexy as Despina.

Kronenzeitung

THREEPENNY OPERA (Weill)

Ute Gfrerer's rendering of the Salomon-Song was perfidiously beautiful and rose to further heights with the accompaniment of the harmonium.

Badische Neueste Nachrichten

Jenny, played by Ute Gfrerer, is an event: the singer sketches the portrait of a seen-it-all guttersnipe with cool determination. Her rendition of the Salomon song was remarkable!

Westdeutsche Allgemeine

When Jenny alias Ute Gfrerer sang the Salomon song, she suddenly emerged from the suffocating shadow of the others, she could be heard loud and clear: Jenny, not a mere self-serving character, but a grand demi-mondaine.

Main Echo

It was no less than Pirate-Jenny who impressed, sung by Ute Gfrerer with a brilliantly beautiful, well-trained though not too operatic voice. Her nostalgic duet with Max Raabe in the "Procurer's Ballad" extended a warm glow even to harsh life in the brothel.

Pforzheimer Zeitung

THE BAT (J. Strauss) Opera house Zurich

Both eye- and ear-catching, Ute Gfrerer stands out as Adele. Admirably supple and light, yet with a strong voice.

Züricher Oberländer



Ute Gfrerer made the most of the opportunity to be Adele and advanced to the position of unofficial leading lady.

Tages Anzeiger





Ute Gfrerer proved herself to be a well-disposed and coloratura-confident Adele.

Basler Zeitung



Ute Gfrerer evokes the typical Viennese soubrette tone through the mask of the up-to-date, jazzed-up Adele and is exemplary in her presentation of what Harnoncourt would call the "subtle nuances between speaking and singing".

Neue Zürcher Zeitung 1.2.2000

LA BELLE HELENE (J. Offenbach)

Ute Gfrerer is visually and dramatically the ideal cast for a title-role with ambitions for "Woman 2000".

Neue Kärntner Tageszeitung



Ute Gfrerer was theatrically and vocally convincing in this role from the first minute to the last.

Klagenfurter Stadtzeitung



This role suits Ute Gfrerer down to the ground. It could have been tailor-made for her; she easily fills Offenbach's intended centre of this piece in voice, acting and stage presence yet manages to present the shallow parts without any awkwardness.

Kärntner Kirchen Zeitung 29.10 2000

RISE AND FALL OF THE CITY OF MAHAGONNY (Weill)

I have strongly recommended this opera to many of my friends. Their very different reactions have somehow elated me: Ute Gfrerer's wonderfully seductive interpretation of Jenny Hill bewitched the men, filled the women "somehow" with jealousy and left mothers asking whether they would wish "such" roles for their daughters.

Arnold Mettnitzer, Pfarrer und Psychotherapeut

MUSICAL SHOW

Ute Gfrerer proved that she is not only a highly gifted opera and operetta singer but also has the makings of a musical actress. In "I dreamed a dream" from "Les Misérables", "God help the Outcast" from "The Hunchback of Notre Dame" and "With One Look" form "Sunset Boulevard" she bewitched the audience. An absolute climax was the duet with Uwe Kröger from "The Phantom of the Opera". In this they both displayed that they have first-class voices which harmonize perfectly.

Musicalcocktail Kärnten

ERICH KAESTNER -REVUE

And then there was a brilliant performance by Ute Gfrerer, who reined in her soprano and demonstrated in a fascinating way that she also masters the "Art of Songs".

Der Standard