Press

Opera News

“For sheer musicality and attention to nuance, the honors went to Oren Gradus, who intoned the lines of the Hebrew high priest Zacharia with resonant legato and eloquence of manner.  His first scene cavatina was particularly moving on a level of expressivity not matched by any of his fellow cast members.”

Robert Croan, December 2015

The Pittsburgh Post-Gazette

“As the Jewish high priest Zaccaria, Oren Gradus turned his smoother, deeper bass-baritone into an excellent musical and dramatic foil for the title figure.”
Robert Croan, October 12, 2015

The Pittsburgh Tribune Review

“Oren Gradus as the Hebrew high priest Zaccaria added weighty but finely shaped singing to his commanding stage presence.”
Mark Kanny, October 11, 2015

Boston Classical Review

“Rodrigo’s father, the aged former war hero Don Diegue, was artfully portrayed by the anything-but-elderly bass Oren Gradus in a warm and modest performance that had vocal power in reserve when needed.”

David Wright, September 19, 2015

Boston Classical Review

“Oren Gradus is Sir John Falstaff, the hard-drinking, conniving, rotund knight who carries out a plan to sleep with the wife of Mister Ford, a citizen of Windsor.  (Sir John in Lust may be a more apt title to the opera).  Gradus sang the role with a warm, rosy-toned bass well suited to the knight’s grandiloquent presence.”

Aaron Keebaugh, May 18, 2015

La Liberté

“The priest Zaccaria is the full-bodied and sensitive bass Oren Gradus.  The prayer in the second act was magnificently sung with a vibrancy of unaltered faith.”

Thierry Raboud, July 9, 2013

Basler Zeitung

“Oren Gradus offered a dominant Zaccaria.”

— Verena Naegele, July 8, 2013

Bieler Tagblatt

“Oren Gradus’ Zaccaria was the best one could hope for. On the whole he crafted his role with great sovereignty.”

Edith Keller, July 8, 2013

NoRules-NoLights.com

“As the Chaplain, ‘Raimondo’, bass Oren Gradus showed himself as the last person anyone should look to for spiritual advice. Portrayals of grade-A hypocrites don’t come any more convincing than this. Fawningly patronizing toned slid off his tongue with the ease of melting butter when he tried to placate the rebellious ‘Lucia’ into accepting a marriage she didn’t want. Righteous indignation bit into the air when he passed the blame for the deaths around him on the actions of everyone but himself.”

Brian Hay, April 21, 2013

The Washington Examiner

“Gradus is the embodiment of control, his commanding bass symbolizing Enrico’s absolute authority.”

Barbara Mackay, September 20, 2012

Pegasus News

“Oren Gradus, as Henry VIII, chews the scenery effectively. He is frightening, monstrous, alluring, charming, and dangerous. He keeps my attention constantly even when he is not singing. You can see the wheels in his mind working, plotting, conniving. Even though his vocal performance is stupendous it comes across as if he isn’t even singing. Every note sung seems natural and is an extension of his character. You loathe him, yet you can clearly see why women are so attracted to him.”

Mark-Brian Sonna, November 5, 2010

Opera News

“Oren Gradus’s Figaro was a figure of fun, extroverted and infectiously ebullient. He sang with expert technique and pure vowels, showing off splendid high Fs (written or interpolated) whenever an opportunity arose. He and [Sari] Gruber had great chemistry with each other, relishing their time together in both sound and action.”

Robert Croan, July 2010

The New York Times

“Oren Gradus’s rich, deep bass and thoughtful phrasing gave the ‘Quoniam’ a fascinating combination of spiritual and dramatic heft.”

Allan Kozinn, March 24, 2010

Opera News

“Bass Oren Gradus did fine work in Don Basilio’s ‘Calunnia’ aria and worked his way – like calumny itself – from something soft and pianissimo up through the poisonous buzz of full-out scandal-mongering.”

Willard Spiegelman, 2007

Opera News

“Oren Gradus [was] an imposing Méphistophélès whose youthfulness made him all the more dangerous. Gradus’s resounding bass voice has genuine presence. He shows musical intelligence and an affinity for the stage.… Gradus has the makings of a first-rate devil, and should grow into the part with time.”

Robert Croan, June 2005