Greer Grimsley Once Again Triumphs as Wotan

Seattle Opera, 2009 RING Cycle

Critics rave for Bass-baritone GREER GRIMSLEY reprisal of Wotan in Seattle Opera's Der Ring des Nibelungen:

"No amount of cynicism can mask the fact that there are not many Wotan’s 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

"Greer Grimsley's demonstrative Wotan has deepened in the four years since his last Seattle Ring.  In the current mounting, his penetrating, evenly produced bass-baritone made a strong case for the iron will of the god, and his slow metamorphosis from good-time Wotan to the desperate Wanderer was convincing." Opera News

"Strong, often stirring singing, led by Greer Grimsley as Wotan…Grimsley was every bit the master god. His bass-baritone not only is big and untiring, it is voluminous, with ever-changing color, now intense and cutting, now dark, now ringing and stentorian. And he’s mobile and quick, his whole body the portrait of the mood and emotion. The shift he made from the towering rage at his willfully disobedient daughter, to the grief and loss shown at his final farewell from Brünnhilde, was tremendous, and the separation more loving and moving than I have ever experienced of other Wotan’s." San Francisco Classical Voice

"As Wotan, Greer Grimsley was a pillar of strength, his firmly focused bass-baritone unstinting and untiring." Associated Press

"Greer Grimsley capitalized on power and stamina as an athletic Wotan" Financial Times

"As the light and dark forces battling for control of the all-powerful ring that drives the drama, Greer Grimsley as Wotan…brought vocal and histrionic command, as well as telling psychological depth." Chicago Tribune

"… special praise to Greer Grimsley’s Wotan Throughout the Cycle Grimsley’s Wotan (and Wanderer) was inspiring. Grimsley was Seattle Opera’s 2005 Artist of the Year and may be in the running again for this outstanding performance. " By Joel Grant for Classical Voice

"Greer Grimsley was recognizable as a great Wotan already in Das Rheingold in the directness and strength of his portrayal, and well as the dark, flinty quality of his voice… His Wotan is a creature of the will, who is tortured by his curiosity's restless drive to transcend his limitations.... Grimsley's consistent, leathery voice is the perfect vehicle for this obsessive interpretation—and it is very beautiful in its intensely masculine way. His return as the Wanderer and an evolved Wotan in Siegfried, both his comical scenes Mime and Alberich, as well as his heart-breaking encounter with Erda, was masterful." Berkshire Review

"Of those returning there are three notable stand outs. Greer Grimsley (Wotan/The Wanderer) has developed considerably since 2005. He has now found a few extra gears in his voice with more variety and colour resulting in a most satisfying portrayal of this complex character. The final scene of Die Walküre was particularly moving and his contribution in Siegfried was pivotal to the success of this opera." The Opera Critic

"Greer Grimsley… as Wotan, has grown into the role superbly, and sang with a combination of vocal precision and theatrical authority." San Francisco Chronicle           

 "As Wotan, Greer Grimsley was a pillar of strength, his firmly focused bass-baritone unstinting and untiring."  Associated Press

"Greer Grimsley went from strength to strength as a noble, fallible Wotan who made every word and gesture count. His performance was full of rich details; an extra-long pause in the repeated phrase, "Das Ende," had the audience holding its breath too. At the opera's end, when Wotan has renounced his beloved daughter, Grimsley makes clear his total devastation."  The Seattle Times

"Another holdover from previous Seattle Rings, Greer Grimsley, is as fine a Wotan as you are likely to encounter on today’s operatic scene. Dramatically, he makes even so experienced an exponent of the role as James Morris seem one-dimensional. And he poured out his glorious bass-baritone voice with unblemished beauty and power." Bernard Jacobson - Music Web

"Greer Grimsley as the Wotan of the summer. Tall and handsome, Grimsley delivered a finely nuanced portrayal of the errant god." Opera Today