“Dominating the proceedings were the Wotan of Greer Grimsley and the Alberich of Richard Paul Fink; a well-matched, vicious pair. Grimsley projected iron power with a sumptuously beautiful voice, smooth as silk, precise of text.”          Opera News



Greer’s interpretation, his immersion into character without sacrificing a whit of vocal integrity, was a tour de force, and one of the finest performances I’ve ever seen at Glimmerglass.”         OperaToonity




"Greer Grimsley was ideal as a deeply caring Kurwenal, with his George London-like fusion of baritone range and bass coloration."          Opera News


“Grimsley's terrific commitment to his role, bringing Kurwenal to three-dimensional dramatic and vocal life.”          Musical America


“Grimsley, who never disappoints, shrewdly wrings all the drama and sympathy one can from the somewhat hapless role of Tristan's sidekick Kurwenal.”          Seattle Weekly





“Even outside his best repertoire, Wagnerian bass-baritone Greer Grimsley was a powerful, incisive Amonasro who sang “Pensa che un popolo, vinto, straziato” in a single breath and was the best actor onstage.”           Opera News


“Verdi isn't Greer Grimsley's natural repertoire, either, but his vivid declamations brought authority to Amonasro, Aida's father.”          Oregonian




“Leading the cast in a tour de force performance was bass-baritone Greer Grimsley as a charmingly sinister Mephistopheles, a character both so compelling and so frightening that any performer would swap his soul to play him. Grimsley commanded the stage from the instant he first appeared in an explosion of smoke. As flashy as the fire emanating from his fingers, he made for an irresistible Devil.

Vocally, he matched that power note for note. With a deep resonance and rounded warm tone - full of both strength and delicate nuance - Grimsley was phenomenal. As an actor, he never allowed the seductive charm of Mephistopheles to turn to caricature. Indeed, by the time he confronts and damns Marguerite in the church, he was chillingly frightening.”            The Times-Picayune


“Greer Grimsley, like Groves a Louisiana native, offered a rich-voiced, persuasive Méphistophélès. He presented a nuanced portrayal of elegant evil, never resorting to caricature. Grimsley was particularly impressive in his Act III invocation to night.” Opera News


Greer Grimsley’s wily, seductive Méphistophélès sparked the drama at every turn, from the moment he appeared—eerily rising from beneath his cadaver’s shroud in Dr. Faust’s musty laboratory—to the denouement when he dragged the dissolute Faust off to hell. His brawny bass-baritone connoted authority even at a whisper, and his felicitous declamation communicated every nuance of the text with unaffected ease. Even when required to sport a scarlet sorcerer’s jumpsuit or a huge, wide-brimmed circular hat seemingly borrowed from a 1950s Audrey Hepburn movie, Grimsley exuded rakish allure and complete command.

He clearly communicated the insight that temptation wears many disguises, and that the term “confidence man” explains in a word the Devil’s success. In the opening scene, when Grimsley first encounters Faust, he wears the well-tailored attire of the successful gentleman, and I immediately thought of Bernie Madoff, whose confident approach had sophisticated investors and institutions throwing money at him because he convinced them he could beat the fluctuations of the market. Modern secularists may scoff at the medieval caricatures of the Devil, but put him in an Armani suit, and they are doomed.  




“Macbeth himself, the murderer with too much conscience, was sung and acted with dark conviction by bass-baritone Greer Grimsley and, though Verdi didn't give him (or anyone else) as many notes to sing as Lady Macbeth, he made a strong impression.”    Ottawa Citizen


“Greer Grimsley, also making his debut in the opera, was a memorable Macbeth…he sang one magnificent scene after another. From his first monologue, his voice seemed to grow in size and diversity of sound; his final aria, “Pietà, rispetto, amore,” was heartbreakingly vulnerable and vocally thrilling, provoking a prolonged ovation.”       Opera News


Greer Grimsley, as Macbeth, is nothing short of uniformly perfect. As someone who had yet to be awed by a bass-baritone, Grimsley will forever be my first. The power of his voice is such that the audience can literally feel his crescendos in their chests and the shaking of the floor in his lower register. His international reputation as a first-class singer and actor is well earned. Grimsley deftly portrayed the raging doubts, the secret regrets and the heedless authority of Macbeth in a naturalistic, modern fashion, and steered well clear of both the traditional stand-and-pose and the flailing gestures that unfortunately typify no small portion of opera today. “              The Westender (Vancouver)




“The soprano [Sandra Radvanovsky] was also helped by the opportunity to work with two first-rate singers who know their way around this opera. Indeed, it was one of the best overall casts the company has put together in recent memory…Bass-baritone Greer Grinsley, an old hand at the role of Scarpia, delivered a superbly honed performance, ably conveying the smug sophistry and base desires of this opera's infamous villain.”                       Opera News


“The great thing about this particular production of Tosca is Greer Grimsley singing the role of Scarpia. He is one of the few singers to have ever lived that can cut through the menacing orchestral forces which accompany Scarpia’s music. Grimsley dominates the stage at all times as is appropriate for an abusive, sadistic, cunning, monster. He’s a politician who doesn’t need your vote.”            San Diego Reader


“American bass-baritone Greer Grimsley, as the evil police chief Scarpia, had immense vocal and physical presence throughout.”                                                                                                                Times-Argus (VT)


Bass-baritone Greer Grimsley was absolutely riveting as the infernal police chief Scarpia—the embodiment of evil. His resonance and tonal clarity were outstanding, particularly in “Già mi dicon venal” (“They call me venal.”)          Kansas City Star


“As Scarpia, American bass-baritone Greer Grimsley outshone everybody else in the cast — not hard to do when you've got a terrific voice and you're playing opera's charming cad of cads.”          Opera News online


“But the real scene-stealer in this production is Grimsley, who's deliciously wicked as the sleazy Scarpia. He glides up behind Tosca like a serpent and writhes in agony during his delivery of "Va Tosca," the sacred vs. profane aria where he unveils his plan to blackmail Tosca for sex while a Catholic Mass begins just steps away. And his perfectly controlled voice fits the role of Scarpia like a glove.”            North County Times


"Bass-baritone Greer Grimsley, alternately obsequious and lust-crazed as Scarpia, staked a strong claim, with a big, dark sound and impressive acting, to a place in the first rank of this role's great interpreters, a list that includes such heavyweights as Tito Gobbi and Cornell MacNeil."             San Diego Union Tribune


“Seldom has a singer had so much fun with the role of the villainous Scarpia as does Greer Grimsley, a Seattle Opera regular who makes a terrific baddie. Urbane and powerfully evil, Grimsley's Scarpia is a smiling sadist who clearly enjoys the wielding of power — both political and sexual. Grimsley's big, dark baritone was a perfect fit for the compass and the quality of this role, and his death scene was alarmingly realistic.”                            Seattle Times


“Greer Grimsley is the only principal well-known at Seattle Opera. He has done Scarpia here previously. Given his height and innate theatricality, he makes a commanding figure of evil, elegant and smart. He brought nuance to the role Saturday as well as a huge sound that rang throughout the house.”            Seattle Post-Intelligencer


“A master of ambiguity, Greer Grimsley is unbeatable playing men with a darker side…Scarpia, of course, has more than just a dark side, he’s loathsome in the core.  But you can count on Grimsley never to settle for two-dimensionality; he gives Scarpia a black-velvet suavity, making him magnetic enough so that we’re complicit in his evil.  It’s the ultimate manipulation in the most manipulative of operas.”           Seattle Weekly


“Bass-baritone Greer Grimsley, a Seattle Opera veteran, etched a menacing portrait of Scarpia.  With his dark good looks and dashing black cape, he made a very splendid-looking villain, and his dark, rich voice conveyed the essence of Scarpia’s malice.”              Seattle Herald


“Greer Grimsley’s lean, menacing Scarpia was admirably sung. His baritone has a buzz and projection that rode the chorus and orchestra superbly in the Te Deum…”            Opera News


“Dressed in the finery of a vampire, Grimsley embodied the diabolical Scarpia in every which way imaginable.”     Opera Magazine


“Grimsley -- for once a slim Scarpia! -- took splendid command of a role he sang so impressively for Minnesota Opera in 1998, and he seemed even stronger in the part Wednesday night, the voice richer, the portrayal more malevolent.”          Minneapolis Star-Tribune


“Greer Grimsley, as Baron Scarpia, was also a stellar presence. His entrance in the first act was so commanding he might as well be Darth Scarpia...Grimsley played Scarpia with greasy assurance and calm malice, which makes it all the more chilling.”        Pittsburgh Tribune Review


“Grimsley radiated evil in every action...visually commanding in his vile splendor, Grimsley's dense and dark voice displayed Scarpia's inimical soul on its own.”                         Pittsburgh Post-Gazette


“And Greer Grimsley gave the villain, Scarpia, a dark richness of both voice and character...a powerful presence.”                St. Paul Pioneer Press


“Greer Grimsley...was ideal. Tall and thundering as a cannon, he strode around the set like Darth Vadar, by turns nasty, ironic, arrogant and sadistic.”                      The Oregonian


“As Scarpia, the psychopathic chief of police who holds the fate of Cavaradossi and Tosca in his hands, bass baritone Greer Grimsley engaged nicely with the deep round tones of his range.  But he also gave an absolutely chilling performance, inhuman one moment, tender the next, as Scarpia slowly manipulates Tosca.”             Austin-American Statesmen


“The best all-around performance is turned in by Greer Grimsley, whose rich expressive bass-baritone voice and forceful presence is ideally suited to the role of Baron Scarpia, the corrupt, lecherous chief of police...”         The Denver Post


In his Opera Colorado debut Greer Grimsley brings new dimensions of darkness to this all-powerful chief of police in Giacomo Puccini’s 1900 version of Victorien Sardou’s drama about a diva in love amid political turmoil.  The young American bass-baritone, a major rising star in today’s opera world, rejects the one-dimensional Scarpia cut from the same black cloth as Verdi’s lago and Wagner’s Alberich, legendary bad guys of opera.  Grimsley plays Scarpia as a psychopath, a cunning and complex individual who reduces those around him to puppets in his powerful hands.”                           The Daily Camera


“Greer Grimsley exuded sinister gandeur.  He was the sleekest singer and surrounded the jewel with vocal velvet.” Orlando Sentinel




no amount of cynicism can mask the fact that there are not many Wotans out there today capable of singing a full Ring cycle with anything approaching adequacy. It was, therefore, a pleasure to hear Greer Grimsley first assay the role in Seattle in 2005, and what was then a promising Wotan has now become The Genuine Article in all of its splendor and glory. He acts as about as well as a Wotan can act, but he a God. The role lies in the heart of his vocal range, and he sings with a rare combination of power and suavity. The world has waited for a very long time for a Wotan who can sing without barking or rasping, and he has arrived.”                                   Huffington Post


“As the light and dark forces battling for control of the all-powerful ring that drives the drama, Greer Grimsley as Wotan and Richard Paul Fink as the dwarf Alberich brought vocal and histrionic command, as well as telling psychological depth to their pivotal roles.”              Chicago Tribune 


“Returning cast members include three of the most gripping and vivid singing actors in any SO production ever...As the god Wotan, whose battle with Alberich for the all-powerful Ring propels the plot, Greer Grimsley has deepened and darkened his portrayal over eight years. In fact, the two singers have penetrated far enough into their characters to bring out ambiguities beyond a simplistic villain/hero opposition: Alberich, from whom the Ring was stolen, is after all justly trying to right a wrong, and in his tenacity becomes actually a bit sympathetic; while Wotan—all about the ends, ethically blind to the means—lies and manipulates whenever convenient.”                Seattle Weekly (2009)


“Grimsley is stronger and more nuanced than ever as Wotan, continuing to expand his range as an actor.”            Seattle Times (2009)


“Greer Grimsley's Wotan, making a sure-footed way through his first “Walküüre,” is unflagging in his intensity and power: terrifying in his wrath, tender in his affection for his wayward daughter Brüünnhilde. He already sings with the seasoned nuances of a longtime master of this role.”

“Grimsley’s big, resplendent voice is the right size and color for this vital role; as Wotan, he osunds like a singer who has found his true home. He’s an adept actor, too, never overplaying his hand and relating to the rest of the cast with unflagging intensity.”    Seattle Times


“...his voice - clear and handsome and forthright - sang the music Wagner wrote for him with passion and an articulate sense of the text.”


“This Grimsley completed with uncommon grace and vigor. The voice rang true all night - in those mighty fortissimos as well as soft pianos. He always had range to his bass-baritone, but it has never been tested so thoroughly: The anger, the despair, the unhappiness and bitter farewell to his favorite daughter were equally persuasive.”


“Grimsley commanded the stage in “Das Rheingold” and “Die Walkure” with his wide-ranging and handsome voice, and equally so in “Siegfried.” He was fresh and powerful in all that he did.”            Seattle Post-Intelligencer


“Greer Grimsley, baritone in range and bass in timbre, sounds like the Wotan for whom seattle has waited...its power and stamina and the artists’s intensity make Grimsley the best Wotan Seattle has expreienced.”          The Oregonian


“Grimsley’s voice is deep...his singing potent.”                           San Francisco Classical Voice


“One of the big revelations was Greer Grimsley's warmly nuanced, empathic Wotan. His thundering bass-baritone was a column of power, with sinew across its range.  But for all its thrilling effect, Grimsley was most impressive in conveying the god's vulnerability. His athletic Wotan was in love with life, thus intensifying his sense of entrapment. Even in his later evolution as the Wanderer in “Siegfried,” he was more peacenik than resigned philosopher.”                    Atlanta Journal-Constitution


“Greer Grimsley took on the role of Wotan with equally stellar results, displaying a powerfully resonant bass-baritone and sympathetic acting.”                                  American Record Guide


“...he carried himself with admirable dignity and poise and project well, if not overpoweringly. He also sang with a pleasingly darkish tone.”                          Musical America


“The lithe, youthful Greer Grimsley led the cast as Wotan, his singing colorful and moving, especially in the upper range of the part.”                    The News Tribune




HEADLINE: Big voice and dramatic skill keep bass-baritone in demand

“Seattle Opera is not making much of the occasion, but bass-baritone Greer Grimsley’s appearance in Puccini’s La fanciulla del West, which opens tomorrow night at McCaw Hall marks the bass-baritone’s 10th anniversary and Sheriff Jack Rance his ninth role with the company.

‘The reason I have continued to engage Greer,’ said Speight Jenkins, ‘is that he represents to me what is ideal in an opera singer.  He is extraordinarily musical and a dynamic performer, has excellent dramatic instincts and works well with conductors and directors.  His voice is large and has the individual qualities I want.’

‘There is a similarity in my head,’ said Jenkins, ‘between Greer and George London–his voice and manner on stage.  This is what convinced me Greer should go into Wotan.  His singing now has greater dynamic variety and line.’  London, who sang Wotan with distinction in the 1950s and 1960s, possessed ‘dramatic individuality and vocal power,’ to quote one critic.  He also staged, in 1975, Seattle Opera’s first Ring cycle.”                                                    Seattle Post-Intelligencer


“Greer Grimsley’s edgy baritone endowed Rance with a menacing quality.  He delivered a fully rounded reading of the role – husky with sexual desire for Minnie, painfully envious in his scene with Nick..., malevolent when he thought he finally had Ramerrez in his power.”            Opera News


“Greer Grimsley’s Jack Rance... is a palpable, powerful force during every scene.  Tall, commanding, and dark- voiced, Grimsley projects a remarkable blend of cynicism, honor, passion, and a devil-may-care attitude about life and death.  He ignites the second act, in which three principals meet in Minnie’s cabin; his declaration to Minnie that he means to have her is accompanied by body language that would have a gal quaking in her cowgirl boots.”                        The Seattle Times


“Bass-baritone Greer Grimsley is a sensation in the role of Jack Rance.  He exudes dark sex appeal and sinister attitude...these three artists all veterans of Seattle Opera productions, have never sounded better.”            The Herald


“...though probably any tenor this side of Domingo would come off lacking next to Greer Grimsley, who smolders in head-to-toe black leather as Rance.  Grimsley’s dark, winter-weight baritone is a bit gravelly, but in a very good way indeed.”             Seattle Weekly


“Grimsley took on the sheriff with relish, creating a character beyond the standard dark traits.  It worked.  He sange as well as he has ever sung, with polish and strength and verve.”             Seattle Post-Intelligencer


“Dramatically Greer Grimsley certainly rises to the top with his vivid portrait.  He exudes black sex appeal of the sheriff but never overplays his hand.”                          Seattle Post-Intelligencer                                                




“Powerful moments certainly included those featuring baritone Greer Grimsley. He aptly exploited all the colours of his role. His Jochanaan was an imposing presence on stage, and his timbre and vocal precision conveyed nobility and moral steadiness, together with a sense of endured suffering, which befits the portrayal of this character.”


"Bass-baritone Greer Grimsley, last heard in VO’s 2006 Macbeth, delivered a chilling John the Baptist: an emaciated and wild-eyed prophet railing against a world of vice and corruption. His rich voice conveyed an austere authority."          Vancouver Sun


“Bass-baritone Greer Grimsley is a forceful and resonant Jokanaan, the grain in his sound pitched to the grit in his character.”          The Globe and Mail


“Greer Grimsley's intensely acted, magnificently sung Jokanaan...Grimsley has an exceptionally powerful baritone, and the part lies just right for him to pour out virtually unending sheets of brazen sound, as well as spin some gorgeous soft singing in Jokanaan's raptly prophetic moments. Jokanaan is not exactly an alluring character, but he is a charismatic one, and Grimsley communicated that superbly.”              The Santa Fe New Mexican


“He's tall, dark, handsome and -- this is the part that really turns Salome on -- pious…Grimsley, commanding even in rags, scarcely sees the girl. This radiant apostle thinks, visualizes and admonishes on his own plane of unassailable spirituality -- in a dark, sure voice of pure grandeur.”                Detroit News




“American Greer Grimsley, Wotan in a Rheingold concert here in 2000, was a very somber but also touching Barbe-Bleue with an ample baritone voice with the strong color of a bass.”              La Presse  


“For the Montreal production, the two stunning voices were those of American Greer Grimsley, who sang Wotan in a concert production at L’Opera de Montreal in 2000…”                The Globe and Mail


“As conceived by Bartok and performed with great resonance by American bass Greer Grimsley, the notorious widow maker is strangely sympathetic, urging his frightened new bride to restrain her curiosity.  He does not demand an embrace, but requests one, and takes no for an answer.”                The Gazette




“Greer Grimsley's Amfortas is an immensely sympathetic characterization. This is a singer who always commands the attention; he makes Amfortas' suffering real without descending to melodrama.”          Seattle Times


“Grimsley has sung a lot in Seattle, but rarely so effectively as Amfortas. He always held our attention.”              Seattle Post-Intelligencer


“Watson, Grimsley, and Milling, led the pack for their affecting power, range of tone color and acting.”                 The News Tribune


“Vocally, the whole production is splendidly cast, with some favorite Seattle Opera villains, Greer Grimsley as Amfortas (the wounded leader who can only be healed by the spear.”               Seattle Weekly


“As Amfortas, Greer Grimsley is so sympathetic–and so believably gripped in the agony of his never-healing wound–that even his most selfish action to try to escape that pain is understandable.”                   Queen Anne/Magnolia News


“The cast of ‘Parsifal’ is superb with Stephen Milling, Greer Grimsley, and Richard Paul Fink singing and acting at the highest level in the principal roles.”                 The Herald


“The baritone Greer Grimsely sang with aching poignancy as Amfortas, the ailing ruler of the knights, who deems himself unworthy.”                       The New York Times


“Greer Grimsley was a compelling Amfortas.”                     San Francisco Chronicle


“Greer Grimsley’s sinewy baritone certainly personifies the resentful suffering of Amfortas.”                     The Dallas Morning News




“Greer Grimsley was a thoroughly evil Don Pizarro, but never descended to villainous caricature. The Act II quartet was dramatically and vocally thrilling.”                              St. Louis Post-Dispatch


“American baritone Greer Grimsley is one of the best operatic heavies around these days.  He relishes evil characters – so much so that his Don Pizarro is almost lovable.  It’s the Bela Lugosi effect.  Bloodsucking looks fun and glamorous.”     San Diego Magazine


“Greer Grimsley dominated with stage presence as the villainous enemy of Florestan.”         





“Greer Grimsley's High Priest add personality to the story. Grimsley's rich, resonant baritone never falters; his scheming scene with Delilah captures evil plotting perfectly. It's always fun to watch the “bad guys” from a safe distance.”       Voice of San Diego


“Grimsley was an excellent foil as the third party.  He sang meatily when confronting Delilah over the need to have her spy for the Philistines...He never overshadowed the leads, either.”            Houston Chronicle


“Greer Grimsley’s bass-baritone lends an ominous quality to the part of the High Priest of Dragon.”


“[As the high priest], Greer Grimsley’s dark, dense bass-baritone makes the Philistine high priest aptly imposing.”                      The Dallas Morning News


“Bass baritone Greer Grimsley, as the High Priest of Dagon, poured out torrents of molten steel.”                      San Antonio Express-News


“[As the High Priest, Greer] Grimsley accomplishes believability...he avoids vocal pitfalls usually associated with this type of ‘big bad wolf’ role and delivers a well-balanced sound complemented by effective placement of vocally styled anger, something that only the best Wagnerian can accomplish.”




“The Dutchman, bass-baritone Greer Grimsley, is a familiar figure here (most impressively as Wotan in Seattle Opera’s “Ring”); he probes every nuance of the title role as a captain doomed to sail the seas in a ghost ship until he is redeemed by true love. With Grimsley’s commanding stage presence and resonant voice, this is a role that suits him admirably, and one he has frequently sung. The experience shows.”      Seattle Times


“But central to the success of any Dutchman production is the Dutchman himself. In this role, Greer Grimsley, who is a Seattle Opera favorite but whom I was encountering for the first time, covered himself with glory. A handsome man, slim of build, he looked the part, and his singing was a sumptuous outpouring of bass-baritone sound, molded with style and sensitivity. Indeed, the long section of Act II leading up to his understanding with Senta was as beautiful and as profoundly expressive as any performance of it I can recall hearing.”                                                                                                                Seen and Heard


“Greer Grimsley sings the Dutchman, and his bass-baritone makes a thrilling complement. His voice is dark, warm, and—though it may not sound like a compliment, when you hear him you'll know it is—a bit growly in the middle. His delivery has a direct, even conversational expressiveness, even in lyrical lines.”          Seattle Weekly


“Two principals of Seattle Opera's last “Ring” — Greer Grimsley, as the Dutchman, and Jane Eaglen, as his doomed love, Senta — reunited on the stage for a performance that was among the finest work we've seen from them both...his opening scene, “Die Frist ist um,” made a strong impression. Always a vital actor and a powerful singer, he made the Dutchman's torment real and affecting.”                   Seattle Times


“Greer Grimsley sang the title role. He is a fixture at Seattle Opera, doing a diverse repertory of Wagner operas as well as French and Italian. Not only does he move well on stage and possess genuine presence, he has sure musical instincts that support a voice of remarkable depth and lyric breath. His Dutchman was intelligent and impassioned.”                 Seattle Post-Intelligencer


“...Combined with the indisputable quality of the singing, led by the potent and seasoned voice of Greer Grimsley as the Dutchman, Saturday night’s performance was compelling theater.”                   Pittsburgh Post-Gazette


“Bass-baritone Greer Grimsley is incredible in the title role: What a masterful dark-hued voice he has!  Every tortured syllable that leaves his lips is pure poetry and ethereal delight.  This is a superstar in the making, and one shouldn’t let the limitations of the production stop one from hearing such a magnificent vocalist.  From the moment he steps onto the stage wearing a long trench coat over his Holocaust duds and sings his first aria, one immediately forgets everything else.  With straggly long hair and a long lean face, he looks the part, too.”                   Pittsburgh City Paper         


“Greer Grimsley is a commanding presence as the title role.  His big and dark voice was intense in his first act narration that explains the Dutchman’s circumstances, and flexibility encompassed the ardent love scene in the second act and his bitter disappointment just before he’s saved.  Grimsley already is singing at top opera houses around the world, and his career will only go up from here.”                     Herald Tribune   


“Greer Grimsley, on the other hand, the Dutchman, has already been to some of those places.  Apart from James Morris, Grimsley, with his powerful, resonant bass-baritone and compelling stage presence, is probably the chief exponent of this role today.  A menacing figure in a black cape, throwing off hints of Mephistopheles as well as Dracula, Grimsley added desperation to anger in his big opening aria, so commandingly sung, and he continued, offering a portrayal that was both subtle and full-bodied.”                      Star Tribune


“In Grimsley’s hands, the Dutchman’s agony and fearful hope were tangible and moving, dipping and soaring through both his acting and potent voice.”               Queen Anne News




"Bass-baritone Greer Grimsley brought a welcome subtlety to Telramund, making his snarling villainy a product of his weakness, exploited by the conniving Ortrud."                     The Wall Street Journal


"Grimsley’s Friedrich was a complex character, his clear, black-tinged bass-baritone expressing both wounded honor and insatiable lust for revenge."                             Musical America


"in a dazzling Lyric debut and the impressive American bass-baritone Greer Grimsley...With his wild eyes and dark, flexible bass-baritone, Grimsley’s Friedrich was Ortrud’s willing partner, consumed with regaining his lost honor."                      Chicago Sun-Times


“As the evil Friedrich of Telramund, Greer Grimsley was impressive in doing his snarling nasty, yet the American bass-baritone also sang with a surprising lyrical quality and ease of production in his deep and imposing voice.”               Chicago Classical Review


“Greer Grimsley as the ambitious Telramund…The American bass-baritone makes a memorable villain, darkly malevolent in voice and manner, with impeccable German diction and projection.”                   Chicago Tribune


“Greer Grimsley’s Telramund was especially striking: a lean, elegant, whip-like presence with a strong voice and compelling stage presence.  It’s easy to picture him in many villan’s role: Scarpia or Sparafucile especially.”




“The Orest was the imposing Greer Grimsley, whose deep vocal resonance and physical stature make him ideal for the part.”               San Diego Magazine




“…solid and commanding was the bass - or bass-baritone, in this case - Greer Grimsley. What a gleaming and regal instrument he owns! And he deployed it wisely.”                            The New York Sun                                  




(Safeco Field–Seattle, WA)

“Every once in a while, someone steps to the mike and sings a version so stirring it creates a buzz that, for a moment, transcends the game.  Seattle Opera baritone Greer Grimsley does that.  He thunders the anthem so profoundly and so perfectly at Safeco Field, he doesn’t need a mike.  He probably could be heard past the center-field bleachers and all the way up to Capital Hill.  He, and for that matter all of the singers from Seattle Opera who come to Safeco, deftly make their way through the anthem’s two-octave range like Randy Johnson going through the Atlanta Braves’ batting order.”                             Seattle Times