My Fair Lady

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

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

Waltzdream

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

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

The Standard

A bit of jazz, some funk, a couple of dissonances and a lot of musical elements - conductor Huw Rhs James and the well-rehearsed ensemble of the Musicworkshop Vienna accomplish Davis' pleasing sound-mixture with great solemnity. Despite boasting the outstanding Ute Gfrerer in the title role and an otherwise reliable cast, "Tania" lack excitiement; at fault were the work itself and the stage-direction.

Kurier
Photos c Anna Maria Birnbauer

The Marriage of Figaro

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

Cosí fan Tutte

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

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

Die Fledermaus

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 soubreto 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

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

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

Musicalrevue

Ute Gfrerer proved that she in not only a highly gifted opera and operetta singer but also has the makings of a musical actress. In "I have dreamed" 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

Kästner-Revue

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

Der Standard