“The central lovers received excellent performances — impassioned yet beautifully articulated musically and textually  — from Andrew Garland (Prior Walter) and Aaron Blake (Louis Ironson).  Garland, in fine shape physically, is a skilled, specific actor. His baritone radiated healthy security.” — David Shengold, Classical Voice North America

“Andrew Garland is a serious and game artist with a handsome lyric baritone.” — Observer.com

“The afternoon’s other showstopper was Tom Cipullo’s superbly crafted “America 1968,” given a riveting performance by baritone Andrew Garland, with Donna Loewy at the piano. Garland’s expressive, burnished voice was deal for Robert Hayden’s texts, as he balanced moments of searing power, poignancy and humor.” — Janelle Gelfand, Cincinnati Enquirer, April 8, 2017

“compelling was the chestnut-voiced baritone Andrew Garland as Prior, called upon to give the most emotionally taxing performance of the cast and serve as the drama’s moral center…beautiful dramatic performance.” — New York Classical Review

“Andrew Garland as Prior [Walter] sings with confidence.” — Zachary Woolfe, The New York Times

“A seasoned and communicative performer.”

“Three selections from Steven Mark Kohn’s American Folk Set brought Andrew Garland’s narrative gifts into ebullient focus.”

“Garland’s flexible vocal heft and proudly rolled “r”s brought vivid authority to excerpts from Vaughan Williams.” — ClassicalToday.com

“Baritone Andrew Garland, conveyance of authority, intelligence and emotional sensitivity was a constant pleasure. He alone clearly searched for something deeper than mere musicality.” — Boston Musical Intelligencer

“Excellent. Garland showed an unexpected strength in the lower register as well as a strong top, and he was also equal to the more extreme demands of Orff’s music. A fine actor, he was especially amusing in Carmina Burana. — Joe Law, Opera News

 

“The performance featured a committed, talented cast. Andrew Garland’s Papageno was, in many ways, the heart of the performance; his comic energy and suavity made him a clear standout. He had the audience in the palm of his hand. His counterpart Papagena was a flirtatious Sara Heaton, and the two of them dazzled in their effervescent duet at the end of the opera.”  —Angelo Mao, Opera News

This month Andrew appears on the cover of Classical Singer magazine. www.classicalsinger.com