REVIEWS
South Florida Classical Review 2019 (Trouble in Tahiti and Arias & Barcarolles with Orchestra Miami)
“The charismatic baritone Gabriel Preisser was utterly captivating in “Oif Mein Khas’neh” (At My Wedding), a tribute to klezmer wedding bands. He vividly captured the irony in “The Love of My Life,” aided by Coughlin’s scoring of the Mahlerian undercurrent for solo violin and cello. Preisser commands the kind of voluminous baritone singers like John Raitt and Howard Keel used to bring to the Broadway stage. Sam’s aria “There are men” (after winning his handball game at the gym) was an ode to machismo, sung by Preisser with stentorian power.”
The Orlando Sentinel 2018 (Carmina Burana with Orlando Ballet)
“Soloists added to the work’s thrilling surprises… Gabriel Preisser whose range amazes and whose vocal power gives the choir a run for its money.”
The Spokesman Review 2018 (The Marriage of Figaro with Inland Northwest Opera)
“This weekend’s Figaro, Gabriel Preisser… possesses the dramatic, heroic qualities more often heard in the operas of Wagner and Verdi, although the role of Don Giovanni could have been written for him… His assumption of Figaro was a triumph. He… managed the intricacies of the vocal writing with utter ease and naturalness. When, at an emotional climax, he released his full reserves of burnished, clarion tone, the effect was thrilling.”
Deseret News 2018 (The Barber of Seville with Utah Festival Opera)
“Gabriel Preisser, who plays the titular barber Figaro, wove life and joy into the character of the town barber and matchmaker with his rich, easy-to-follow baritone…”
The Herald Journal News 2018 (The Barber of Seville with Utah Festival Opera)
“Lyric baritone Gabriel Preisser returns to the UFOMT after too long an absence with a huge splash as Figaro. His characterization of the scheming barber is appealingly energetic, his singing is charismatic and his comic timing is impeccable.”
Tampa Bay Times 2018 (The Barber of Seville with Opera Tampa)
“Gabriel Preisser, one of last year’s mainstays, returns to play the title role of Figaro, a jack-of-all-trades and town fixer, as he introduces himself in the Figaro aria made famous in part by Bugs Bunny. Preisser’s versatile baritone covers the character’s demands, and his amiable swagger quickly won over a full Morsani Hall at the David A. Straz Jr. Center for the Performing Arts.”
Front Row Reviewers 2018 (The Secret Garden with Utah Festival Opera)
“Priesser first presents Archibald as a brooding and ornery recluse, and does an impeccable job at gradually releasing details of his character’s pain. His rich vocals reach out into the audience and draw them into his world, particularly during the powerful and revealing duet with Reed, ‘Lily’s Eyes.'”
Winston-Salem Journal 2017 (Silent Night with Piedmont Opera)
“Preisser’s performance is nuanced and sympathetic; his character caught between military duty and domestic bliss.”
American Record Guide 2017 (Silent Night with Piedmont Opera)
“Baritone Gabriel Preisser seemed perfect for French Lt. Audebert. His warm voice and quietly emotional acting set the bar for the other cast members.”
Star Tribune 2017 (Don Giovanni with Skylark Opera)
“Preisser’s Giovanni was the evening’s standout performance, as it must be with this opera. Suave, caddishly handsome and worryingly convincing in his seductive maneuvers, Preisser combined an oak-solid baritone with a high-energy domination of the stage, generating consternation in all the characters around him.
Vocally, Preisser was indefatigable, as dominant in the climactic damnation scene as he was supple and insinuating in the serenade he sings to a serving maid in Act Two.”
Tampa Bay Times, 2017 (La Cenerentola with Opera Tampa)
“Gabriel Preisser’s rich baritone has made him eminently castable in several previous Opera Tampa productions. But as Dandini he reveals a comic dimension that played a critical role, like the third leg of a 400-meter relay. Many of the show’s current allusions come through him, (including) a hip-hop move in a dance sequence…”
Pioneer Press, 2016 (The Marriage of Figaro at James J. Hill House with Angels & Demons Entertainment)
“Gabriel Preisser is a crafty, cocksure Figaro with a bracingly clear low end to his beautiful baritone voice.”
Twin Cities Arts Reader, 2016 (The Marriage of Figaro at James J. Hill House with Angels & Demons Entertainment)
“Our Figaro was Gabriel Preisser, who fit the very definition of dapper with his neatly trimmed, era-appropriate mustache and easy charm. While on a larger stage his antics would call for something fairly broad, the personal setting allowed his comedic timing to be looser and more relaxed, even leaving space for some improvised asides. His Figaro was more the affable class clown than an exaggerated type, and Preisser’s luscious baritone was capable of expressing both tenderness and power in addition to his lighter and more vibrant moments….Altiveros and Preisser’s performances were utterly captivating.”
Minnesota Theatre Love, 2015 (Sondheim’s Putting it Together with Skylark Opera)
“Gabriel Preisser… displays both a wonderfully rich voice and a light comic touch.”
Broadway World and Cherry and Spoon, 2015 (Sondheim’s Putting it Together with Skylark Opera)
“A terrific five-person cast, all sound beautiful individually and in various combinations of duets, trios, and group numbers… as well as some nice solo moments including Gabriel’s triumphant ‘Marry Me a Little’ from Company.”
Talkin’ Broadway, 2015 (Sondheim’s Putting it Together with Skylark Opera)
“Gabriel Preisser is wonderful as the male ingénue throughout, fully coming into his own in a gorgeous ‘Marry Me a Little.'”
Star Tribune, 2015 (Carousel with Minnesota Orchestra)
“Gabriel Preisser makes an ideal Billy Bigelow. He is sexy and passionate, but rough and brutish as well. He also has a mellifluous baritone that makes the most of his extended ‘Soliloquy.'”
Pioneer Press, 2015 (Carousel with Minnesota Orchestra)
“Gabriel Preisser displays appropriately uncertain swagger and a gentle yet powerful voice as Billy Bigelow”
Cherry and Spoon, 2015 (Carousel with Minnesota Orchestra)
“As Billy, Gabriel Preisser has a gorgeous and resonant voice, and brings out every emotion in the famous ‘Soliloquy’ song.”
MPR Classical Radio, 2015 (Carousel with Minnesota Orchestra)
“Preisser’s Billy is introspective and gruff; he effectively conveys the character’s inner torture… Preisser has a huge voice, and he’s utterly commanding in his epic ‘Soliloquy,’ one of the most distinctive numbers in Carousel.”
Tampa Bay Times, 2015 (Il barbiere di Siviglia with St Petersburg Opera)
“The star here, of course, is Figaro, played by impossibly charming baritone Gabriel Preisser. Preisser approaches the character with a wink and swagger, his comedy a subtle foil to the over-the-top caricatures of the Count. Whenever Figaro is on stage, the energy sizzles.”
The Boston Musical Intelligence, 2014 (Fantastic Mr. Fox with Boston Modern Orchestra Project)
“The humorous outings of the three plotting farmers Boggis, Bunce, and Bean, by Andrew Craig Brown, Edwin Vega, and Gabriel Preisser, were additional highlights.”
The Boston Globe, 2014 (Fantastic Mr. Fox with Boston Modern Orchestra Project)
“Andrew Craig Brown, Edwin Vega, and Gabriel Preisser nimbly portrayed the cartoonish trio of Farmers.”
Orlando Sentinel, 2014 (Carmina Burana with Winter Park Bach Festival and the Orlando Ballet)
“Soloists Julia Foster, James Hall, and Gabriel Preisser shone in notoriously difficult passages, with dramatic sustained notes and soaring flights into their upper registers.”
Showbiz Chicago, 2014 (Carmina Burana with Winter Park Bach Festival and the Orlando Ballet)
“This was a vocally perfect production with Gabriel Preisser’s precise diction adding a new level of understanding to the composer’s lyrics.”
Winter Park/Maitland Observer, 2014 (Carmina Burana with Winter Park Bach Festival and the Orlando Ballet)
“Orff’s difficult solo parts were delivered immaculately and superbly by baritone Gabriel Preisser.”
Duluth News Tribune, November 2014 (Carmen with Lyric Opera of the North)
“Gabriel Preisser made an equally strong impression as Escamillo the Toreador, with a strong offering of the Toreador Song. The lyric baritone also enjoyed the comic relief his character brought to the proceedings.”
Orlando Sentinel, October 2014 (Le Tragedie de Carmen with Florida Opera Theatre)
“Gabriel Preisser is all slicked-back hair and swagger as the confident Escamillo. His performance of the ‘Toreador Song’ is a crowd-pleaser as he struts around the stage with eyes flashing and a smirk on his lips.”
Broad Street Review, October 2014 (Lyric Fest – Night in Vienna)
“Lyric baritone Gabriel Preisser has a pleasant voice, smooth from top to bottom, and he showed a wide range of expression, from the sly humor of Beethoven’s ‘Der Kuss’ to Strauss’s rapid, intense ‘Heimliche Aufforderung’ and the languid phrases and impassioned moments of Schubert’s famous ‘Ständchen.’ “
Opera News, September 2014 (Fantastic Mr. Fox with Opera San Antonio)
“The villainous farmers Boggis, Bunce and Bean were splendidly sung by bass-baritone Andrew Craig Brown, tenor Edwin Vega and baritone Gabriel Preisser, respectively”
Opera News, July 2014 (Silent Night with Cincinnati Opera)
“It would be hard to imagine a better musical performance. The large cast was uniformly strong… All the major characters were extremely well sung and acted:… Craig Irvin (Lt. Horstmayer) and Gabriel Preisser (Lt. Gordon).”
The Cincinnati Enquirer, July 2014 (Silent Night with Cincinnati Opera)
“The three lieutenants – Addis as the French Lt. Audebert, Gabriel Preisser as the Scottish Lt. Gordon, and Craig Irvin as the German Lt. Horstmayer – performed wonderfully in ensembles and brought engaging character and vocal heft to their considerable baritone roles.”
Parterre for the Course, July 2014 (Silent Night with Cincinnati Opera)
“Three of the original cast members revived their roles and all were excellent… Gabriel Preisser was the conciliatory Lt. Gordon.”
BachTrack, April 2014 (Les Mamelles de Tiresias with Opera Parallele)
“Baritone Gabriel Preisser and soprano Rachel Schutz led the cast in Les Mamelles as the Husband and Therese. They were lively and splendid, ascending their challenging vocal parts with vigour, talent, and grace.”
Opera News, April 2014 (Les Mamelles de Tiresias with Opera Parallele)
“As Bobby and the Husband, baritone Gabriel Preisser combined charismatic energy and timbral allure.”
Opera Today, April 2014 (Les Mamelles de Tiresias with Opera Parallele)
“Gabriel Preisser brought unusual warmth and charm to the role of Therese’s husband.”
Stark Insider, April 2014 (Les Mamelles de Tiresias with Opera Parallele)
“Preisser’s confident baritone anchors this piece, leaving the audience hanging on his every line.”
The Orlando Sentinel, April 2014 (Trouble in Tahiti with Florida Opera Theatre)
“Thanks to performers Gabriel Preisser and Rachel Marino, supertitles would be supefluous… Their expressive faces tell the story as much as Bernstein’s heart-tugging melodies. Preisser nicely alternates between self-confidence and crestfallen confusion and comically gloats his way through an ode to his own ability to come out on top. Preisser has a resonant baritone that lets him boom when he’s bragging, but he also demonstrates a pure tone quality in quieter moments.”
Naples Daily News, February 2014 (Pagliacci with Opera Naples)
“While his role as Silvio, Nedda’s lover, is brief – and doomed – Gabriel Preisser brings a charm and urgency to it. Who wouldn’t want to run away with him?”
The Sandspur of Rollins College, Oct 2013 (Guest Artist Recital at Rollins College)
“Preisser owned the stage… Preisser’s voice is compelling and distinguished.”
Winter Park/Maitland Observer, October 2013 (Recital at Rollins College)
“Preisser glows in triumph…. He has an excellent baritone voice that he uses with skillful excellence… (His) Purcell songs immediately demonstrated Preisser’s compelling sound and agile coloratura… Four Richard Strauss songs were pleasing events whose vocal passion was reflected not only in the singer, but in the remarkable piano accompaniments of Edward Rothmel… The French language received melodious attention in Maurice Ravel’s “Don Quichotte à Dulcinée,” which gave the singer opportunity to expand his acting talents. After intermission came three Paolo Tosti songs. The singer’s even production and flowing breath enhanced his impressive vocal artistry. I especially relished ‘L’alba Separa Dalla Luce L’ombra.’ Three Samuel Barber songs and three Broadway songs brought the program to a close with the audience on its feet giving the artists a well-deserved standing ovation…”
Tampa Bay Times, 2013 (Romeo et Juliette with St. Petersburg Opera)
“Two especially fine standouts were tenor Alex Richardson as Romeo and baritone Gabriel Preisser as his pal Mercutio, whose mischievous instigations provide some of the best acting of the show.”
Winter Park/Maitland Observer, September 2013 (Recital with Florida Opera Theatre)
“Baritone Preisser demonstrated the requisites of an accomplished concert singer. His voice is excellent, and pliable enough to deliver everything his very musical mind imagines… Mr. Preisser included five opera arias from his energetic opening, Rossini’s ‘Largo al Factotum,’ to his encore, Germont’s aria ‘Di Provenza’ from Traviata. Along the way Mr. Preisser tossed in a tasteful rendition of Menotti’s ‘When the Air Sings of Summer’ from The Old Man and the Thief. Familiar songs by Johannes Brahms and F. Paolo Tosti were welcome hearing and emphasized good diction, and pleasing legato line. I personally enjoyed Preisser’s touching rendition of Tosti’s ‘Ideale.’ Preisser’s range from top to bottom is easy and cut from one cloth. A special treat was three French cabaret songs by Francis Poulenc. Here Preisser’s panache and humorous interpretation brought smiles to the faces of his audience.”
Pioneer Press, June 2013 (The Fantasticks with Skylark Opera)
“As the narrator and prospective seducer of the female lead, Gabriel Preisser is consistently charismatic and has a beautiful baritone voice.”
Star Tribune, June 2013 (The Fantasticks with Skylark Opera)
“Gabriel Preisser cuts a dashing figure as the Narrator and sings the score’s most famous number, ‘Try to Remember,’ with a dark, expressive baritone.”
New York Times, 2013 (Silent Night with Opera Philadelphia)
“The young baritone Gabriel Preisser was wonderful as Lieutenant Gordon, a valiant and questioning Scottish officer.”
The Philadelphia Inquirer, 2013 (Silent Night with Opera Philadelphia)
“So embedded are the singers in layers of story…that they seemed to live their characters rather than act them.”
Opera News, 2013 (Silent Night with Opera Philadelphia)
“Gabriel Preisser’s Lieutenant Gordon (who proposes the truce), high-flying tenor Albert J. Glueckert as the German Crown Prince and Thomas Shivone as an uptight British Major all delivered very solid, pertinent performances.”
El Paso Times, 2012 (Die Fledermaus with El Paso Opera)
“Gabriel Preisser’s warm, rich voice was enhanced by his excellent acting skills. His very comfortable stage presence made him a believable Dr. Falke (the perpetrator of the revenge plot), and we rooted for him to succeed in snaring assorted characters into his net.”
The Monterey County Herald, Peninsula Reviews, Cedar Street Times, and Pamina’s Opera House, 2012 (La Boheme with Hidden Valley Music Festival)
“Gabriel Preisser’s Schaunard was impeccably sung and flawlessly acted and the whole principle ensemble worked wonderfully together, both in playful high-jinks and in the final scene, where subdued yet aching grief was beautifully conveyed by everyone.” “When the four principal men sang together, they produced a bravura blend that was simply dazzling.” “A brilliant, fine performance… the four make a smashing quartet.”
Macaroni, 2012 (Woman’s Club Recital)
“Gabriel Preisser with a deep, rich voice…in recital with pianist Mary Jo Gothmann… a program titled ‘Boys of Summer’…was a very well chosen program. His lovely set of Portuguese songs by Brazilian composer Villa-Lobos were effortlessly sung…. and he added dramatic flair to Ravel’s Don Quichotte a Dulcinee, delivering the final drinking song with admirable brio, leering and staggering.”
Star Tribune, How was the Show?, Pioneer Press, June 9th 2012 (Wonderful Town with Skylark Opera)
“Preisser brings a matinee idol’s charm and charisma, and a strong baritone, to Ruth’s editor and love interest.” “Gabriel Preisser as Bob Baker, Ruth’s love interest, was a standout among the men, playing the leading man role among the characters Eileen seems to collect. That rich, luscious baritone was tailor-made for a love ballad.” “Gabriel Preisser displays a rich baritone voice and a casual likability as the magazine editor who could end up with either of the sisters.”
Pioneer Press, 2012 (Werther with Minnesota Opera)
“Gabriel Preisser brings a rich voice and a conflicted characterization of Charlotte’s husband (Albert).”
Examiner, 2011 (Silent Night with Minnesota Opera)
“Vocally Silent Night relies heavily on the commanding baritones of Craig Irvin (as the German Lieutenant Horstmayer), Gabriel Preisser (as the Scottish Lieutenant Gordon), and Liam Bonner (as the French Lieutenant Audebert). The interplay of these three talented singers – from tersely delivered formalities to the affectionate cordialities of unlikely friends – is endlessly compelling, their tonal synchronicity suggesting a private sympathy that runs deeper than the capricious ideologies of their clashing nations.”
Opera News and Star Tribune, 2011 (Silent Night with Minnesota Opera)
“Troy Cook’s Palmer, Andrew Wilkowske’s Ponchel and the tri-national trio of lieutenants (Liam Bonner, Craig Irvin, Gabriel Priesser) merit special praise and were especially notable.”
Opera News, 2010 (Madama Butterfly with Kentucky Opera)
“Preisser’s handsomely acted, handsomely sung Yamadori would have made an ideal new husband for Butterfly.”
Houston Chronicle, 2009. (The Grapes of Wrath with Moores Opera Center)
“Gabriel Preisser sang and acted Tom with power and presence, growing from cocky wanderer to conscience-awakened crusader. True to novel Grapes brims with talent.”
