Rheingold-Wotan, Oper Linz

"Gerd Grochowski is sonorous Wotan, who successful avoids pretentious heroism." (Neue Zürcher Zeitung)

Walküre-Wotan, Oper Linz

"Gerd Grochowski was an excellently focussed Wotan; his bright timbred bass baritone voice came into its own particularly in the final scene in which it was an undoubted highlight." (Das Opernglas)

Walküre-Wotan, Oper Linz

"Gerd Grochowski’s Wotan is solid in the positive sense of the word." (Opernwelt)

Walküre-Wotan, Oper Linz

"Gerd Grochowski equipped father of the gods Wotan, torn between love and duty, with a large voice and excellent articulation." (Der neue Merker)

From the House of the Dead-Schischkov, Wiener Festwochen

"And everyone has his own story – the few of them who are allowed to tell it, Schischkov for example, successfully and expressively by Gerd Grochowski. Incredible tension and shocking." (Neue Zürcher Zeitung)

From the House of the Dead-Schischkov, Wiener Festwochen

"…and finally the impressive Gerd Grochowski, who standing out from the crowd with Schischkov’s tragic fate, occupies the last quarter of an hour of the opera." (Der neue Merker)

Busoni-Dr. Faust, Staatsoper Stuttgart

"The thrust of the conducting pushed the singers to their limits, most powerfully Gerd Grochowski, who with a splendidly sonorous voice and unconditionally dramatic acting exemplified enormous strength, extreme emotion and limitlessly narcisitic self-promotion. This power, this extraversion, this externalising of the ego, is Faust." (Berliner Zeitung)

Busoni-Dr. Faust, Staatsoper Stuttgart

"Gerd Grochowski overcame the challenge of this giant Faust-part with phenomenal effect, both as actor and as singer." (Opernwelt)

Busoni-Dr. Faust, Staatsoper Stuttgart

"Busoni has taken over the character in his own, somewhat pompous sounding German libretto, and Gerd Grochowski is perfect for the piece, both for his voice and his talents as a performer." (Süddeutsche Zeitung)

Tristan-Kurwenal, Staatsoper Berlin

"Gerd Grochowski sings a Kurwenal that commands respect. Grochowski’s dry-as-a-bone declamatory bass-baritone leaves Barenboim little to be desired in its precision and the passionate delivery. Very good." (Opern- und Konzertkritik Berlin)

Tristan-Kurwenal, Oper Frankfurt

"And Gerd Grochowski is in the meantime well on the way, collecting one Wagner part after the other and is becoming more convincing by the day in them. His Kurwenal is without doubt one of the few highlights…. In particular his acting ability fills out the sparing stage directions with so much life and character… One can await expectantly everything that is still to come from this singer." (Online Music Magazin)

Tristan-Kurwenal, Mailänder Scala

"Gerd Grochowski is a young Kurwenal on the stage, not some old shouting sword-buckler as is often the case. His lyrical voice carries him ingeniously around the pitfalls of the heroic." (Klassikinfo)

Tristan-Kurwenal, Met NY

"By his side as Kurwenal, Tristan’s loyal friend and clearheaded alter ego, baritone Gerd Grochowski made his poignant Met debut, compassionately supporting his suffering lord." (The Epoch Times)

Tristan-Kurwenal, Met NY

"Gerd Grochowski was a tough-and-tender Kurwenal, his craggy and big-toned voice used to set the character in high relief, his love for Tristan always colouring his singing." (Tod Opera)

Lohengrin-Telramund, Covent Garden

"Grochowski, who was an impressive Shishkov in the recent Chérau production of From The House of the Dead, brings a youthful vigour to the Brabantian count." (Music OMH)

Lohengrin-Telramund, San Francisco

"German bass-baritone Gerd Grochowski was outstanding as Ortrud’s husband Friedrich von Telramund, who is duped into wrongly charging Elsa but takes great twisted pleasure in doing so." (Arthound)

The Makropulos Case-Prus, San Francisco

"The Makropulos Case isn’t a one-woman show, however dominant Marty’s character is. Debuting bass-baritone Gerd Grochowski sang beautifully, and made a strong and sympathetic Baron Prus, whether horrified by Marty’s coldness or distraught over his son’s suicide for the love of her." (San Franscisco Classical Voice), (San Francisco Weekly)