“Andrew Garland is a serious and game artist with a handsome lyric baritone.” — Observer.com
Review : Cincinnati Song Initiative
“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
Review : Angels in America New York City Opera
“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
Review: Angels in America New York City Opera
“Andrew Garland as Prior [Walter] sings with confidence.” — Zachary Woolfe, The New York Times
Review: American Pianists Awards Song Recital
“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
Review : Messiah Boston Baroque
“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
Review: The Book Collector / Carmina Burana Dayton Opera
“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
Review: Die Zauberflöte Boston Baroque
“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
Andrew Garland on the cover of Classical Singer Magazine
This month Andrew appears on the cover of Classical Singer magazine. www.classicalsinger.com
The Magic Flute – W.A. Mozart
“Andrew Garland had the crowd in his hands as the bird-catcher Papageno, singing adroitly and delivering his spoken lines with a deadpan comic inflection that seemed at times to channel Owen Wilson.” – The Boston Globe