“Dorinda has entrancing arias in her arsenal, and Austrian soprano Christina Gansch was impressive in the role while making her American debut.”
James Ambroff-Tahan, San Francisco Examiner, 10 June 2019
“Christina Gansch, as Dorinda, ran the gamut of emotion, from “down-to-earth nurse,” gathering and carrying off hospital sheets; to heart-sick lover of Medoro; ambiguous/ambivalent friend to Angelica, her rival; and stalwart professional comrade to Zoroastro. Her voice soared and resonated with abundance. Ardent, energetic, full, and fevered, the rich tones moved the text to heart and back. She held the stage. We remained interested in what she was enduring as the narrative took to tormenting her. We cared about her fate, as she cared about Medoro, even though he wasn’t to be hers. Act II when desk duty kept her in the frame of the window, the “Nachtigall” aria, emphasized melancholic longing and excellent control of volume. She never let up.”
Lois Silverstein, Operawire, 10 June 2019
“Christina Gansch made a brilliant United States debut as Dorinda. Effortless coloratura, silvery sound, and contagious energy meant she lit up the stage whenever she appeared. In “Amore è qual vento,” her Act 3 aria about the dangers of love, her comedic register shifts had the audience in stitches.”
Ilana Walder-Biesanz, San Francisco Classical Voice, 11 June 2019
“The real surprise, though – and a truly glorious one – was the U.S. opera debut of Austrian soprano Christina Gansch as Dorinda. Christina Gansch has a bright voice with a lilt to it. The highlight of the whole show may well have been Christina Gansch’s performance of Dorinda’s Act III aria “Love makes the head spin.” The audience certainly appreciated her singing, and they gave her the longest and most enthusiastic applause of the opera for this aria.”
James Roy MacBean, The Berkeley Daily Planet, 14 June 2019
“Switching easily from comedy to melancholy, with a bright coloratura, a good control of volume and wonderful phrasing (“Amore è qual vento”), Gansch clearly endeared herself with the Californian public”
Von Edward Sava Segal, Bachtrack, 23 June 2019
“Christina Gansch, whose U.S. debut as Dorinda was an amalgam of silvery vocal passagework and witty stage presence (her ability to convey both Dorinda’s lovesickness and her essential good humor about the situation was a constant delight).”
San Francsico Chronicle, 24 June 2019
“The greatest vocal pleasure emanated from young Austrian soprano Christina Gansch who found the poetic naïveté of the nymph (nurse) Dorinda in very communicative singing.”
Michael Milenski, Opera Today, 16 June 2019
“In her U.S. debut, Christina Gansch is a standout discovery as sturdy, lovesick Dorinda, at once humorous and touching.”
Pamela Feinsilber, Theatrius, 13 June 2019
“… the loveable nurse Dorinda is portrayed with startling five-star pizzazz by Austrian soprano Christina Gansch in her company and United States debut. In streams of pure and polished penetrating voice, Gansch brings bittersweet comic three-dimensionality to a woman who embodies the conundrum of not being able to separate truth from feeling, culminating in the knockout Act 3 aria, “Amore è qual vento” as she reflects on the turbulence that lurks in love’s grip.”
OperaChaser, 20 June 2019
“In her American operatic debut, Austrian soprano Christina Gansch as Dorinda (a shepherdess in the libretto, a nurse in this production) steals every scene she’s in with her perky delivery of recitatives and natural flair for comedy. A light coloratura-soprano with clear, bright high notes, Ms. Gansch beguiled the audience with her nightingale imitation in “Quando spieghi tuoi tormenti” and brought down the house with a hilariously campy “Amore è qual vento” in Act 3, in which Dorinda, confused by love, throws a small tantrum with rapid burst of coloratura.”
Truman C. Wang, Classical Voice, 16 June 2019