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SCHUBERT/BEATLES – New York Festival of Song

"Sensational soprano Sari Gruber performed Schubert's 'Im Fruhling'..."

– Meche Kroop, Voce di Meche

COSI FAN TUTTE (Fiordiligi) – Florida Grand Opera

"...the especially fine soprano Sari Gruber as Fiordiligi..."

– Bill Hirschmann, Florida Theater On Stage

"Soprano Sari Gruber was Fiordiligi, and she brought to the role a good, strong voice...she was believable as a woman trying to remain true to herself and learning something else in the process...Gruber's voice sounded lovely with that of her stage sister..."

– Greg Stepanich, Palm Beach Arts Paper

"Ms. Gruber...convey[ed] elegance and humor, while handling Fiordiligi's daunting vocal challenges with high intelligence and artistry."

– Robert Croan, Pittsburgh Post-Gazette


COSI FAN TUTTE (Despina) – Pittsburgh Opera

“"Sari Gruber brought just the right spirit to Despina...""

– Mark Kanny, Pittsburgh Tribune

“"Sari Gruber, as Despina, was a standout. She sang the same role when Cosi fan tutte was last heard here in 2006, but last night she wasn't one month away from giving birth, as she was on the former occasion. It can only be hoped that her young daughter was in the audience or behind the scenes to enjoy her mother's excellent singing and comic antics. She was delightful throughout, and her physical and vocal 'disguise' as the marriage notary made it difficult for the audience not to laugh to the point of drowning out the music.""

– George Parous, Pittsburgh in the Round

“"As Despina, Sari Gruber gave amusing takes on the maid's disguises..." "

– Elizabeth Bloom, Pittsburgh Post-Gazette


MAHLER SYMPHONY #2 (Soprano Soloist) – Omaha Symphony

"...tantalizingly expressive... "

– Todd Van Kampen, Omaha World-Herald

LA BOHEME (Musetta) – Pittsburgh Opera

"...talented soprano Sari Gruber, returning after memorable past Pittsburgh Opera stints as Mozart's Zerlina, Susanna, and Despina."

– Mark Kanny, Pittsburgh Tribune


DIE ZAUBERFLOTE (Pamina) – Opera Tampa

“Sari Gruber gave a transparent and emotionally effective performance of Princess Pamina, expecially in the scene where she contemplates suicide..."

Tampa Bay Times


THE PEARL FISHERS (Leila) - Hawaii Opera Theatre

"Leila belonged to Nadir the moment soprano Sari Gruber started singing, her power and clarity an obvious match with the tenor's."

– Ruth Bingham, Honolulu Star-Advertiser



KNOXVILLE: SUMMER OF 1915 – Oklahoma City Philharmonic

"In her philharmonic debut, Gruber cast an enchanting spell with 'Knoxville: Summer of 1915,' Barber's setting of a text by James Agee. This child's view of a lazy summer night showed Gruber to be a thoughtful and elegant soprano capable of a wide emotional range. Gruber conveyed the work's languorous mood through subtle shadings from her multihued vocal palette, then used her clear, focused soprano to project easily through Barber's denser textures. It was a performance, to paraphrase Agee's text, that enchanted the eardrums."

– Rich Rogers, The Oklahoman


LE NOZZE DI FIGARO – Pittsburgh Opera

Named #6 Best Performance of 2010 by Pittsburgh Post-Gazette!

“Bass Oren Gradus and soprano Sari Gruber, as Figaro and Susanna, meshed so well in Mozart's 'Marriage of Figaro' that at times one forgot it was an opera."

– Andrew Druckenbrod, Pittsburgh Post-Gazette


NEW YEAR'S IN VIENNA -- North Carolina Symphony

"Gruber is a thoroughly accomplished young professional who commanded the audience's attention from her first note. 'My Hero' was sincere, compelling, romantic, and 'Mein Herr Marquis' entirely insincere, flighty, with a superb demonstration of how to produce a stage laugh while singing."

-- Tom Moore, Classical Voice of North Carolina


MAHLER SYMPHONY #4 -- Oklahoma City Philharmonic

"Sari Gruber gave splendid voice to the youthful observer, her voice capable of richness and subtlety as the music demanded."

– Rich Rogers, The Oklahoman


LE NOZZE DI FIGARO – Pittsburgh Opera

“Sari Gruber’s sharp-witted, keenly articulated Susanna was a perfect foil for Armstrong’s Countess, and the two blended exquisitely in the letter duet, each maintaining an individual vocal color. Gruber lived the character in every movement and inflection, reacting to those around her and dominating the ensembles. When she finally had her solo turn in ‘Deh vieni, non tardar,’ she held focus with her natural phrasing, controlled legato and even scale.”

Robert Croan, Opera News

“Sari Gruber was the appealing Susanna, a role which is defined by its interactions with other characters. Her voice was clear, attractive and always artfully employed… Armstrong and Gruber sang beautifully together in the letter duet.”

Mark Kanny, Pittsburgh Tribune-Review


LA BOHÉME – Opera Colorado

“…soprano Sari Gruber lit up the stage with her sure-voiced, spirited and suitably saucy portrayal of Musetta.”

– Kyle MacMillan, Denver Post



"Soprano Sari Gruber deserves special praise for her luminous singing, and especially for the crystalline clarity of her diction even when singing some of Laitman's most adventurous melodies."

Journal of Singing


DON GIOVANNI – Arizona Opera

“Sari Gruber gave bright and lively performances as Zerlina, with very polished and musical vocalism; as ‘Batti, batti’ is the only successful seduction in the piece…it was fitting that she delivered some of the production’s most seductive singing.”


“Gruber, who portrayed Zerlina as seductively naïve, sang with a stunning soprano that several times verged on show-stopping great…”

Arizona Daily Star



LA BOHEME – Austin Lyric Opera

“As the opera’s power couple, Musetta and Marcello, Sari Gruber and Craig Verm were tremendous throughout. The role of Musetta, the opera’s spitfire, calls for much more than your typical diva histrionics. Musetta is as much a bohemian as Rodolfo or Marcello but must straddle the competing landscapes of kept woman and bohemian muse (where her true character thrives). Gruber nailed this dichotomy, bring comedic grace and vulnerability to the role, as well as glorious vocal talent.”

Austin Chronicle

“…and the Act II Café scene bustles with wit and excitement. That’s where soprano Sari Gruber, as the spoiled party girl Musetta, makes her appearance – and steals the show. Paris Hilton wishes she could command such attention when she opens her mouth!”

– The Insider


“BERNSTEIN & BOLCOM CELEBRATION” – New York Festival of Song

“The heart of the Bernstein segment was a group of songs from "Wonderful Town."… the tenor with Sari Gruber, the soprano, [gave] a comic but sharply focused reading of ‘Ohio.’ Ms. Gruber also moved easily between the comic spoken sections and the more deeply felt verses in her elegant performance of ‘The Story of My Life.’… The most effective pieces were calling cards for two of Bolcom’s operas. From ‘McTeague,’…Ms. Gruber brought a mad eroticism to ‘Golden Babies.’”

New York Times



"But the whole show was cast from strength, starting with Sari Gruber as 'Sharp Ears, the Vixen.' My past several happy experiences with this wonderful soprano were now joined by this vibrant portrayal which featured a cleanly focused sound, ever secure musicality, and a thorough understanding of the role's dramatic journey....This was a performance that would be welcome on any world stage."

– James Sohre, Opera Today


"Sari Gruber was bold and vocally impressive as the vixen."

-- Robert W. Plyler, Chautauqua Post-Journal



ROMEO ET JULIETTE – Opera Carolina

"…soprano Sari Gruber gave [Juliette] a distinct musical aura…Gruber sang with a wealth of tender inflections."

Charlotte Observer


LE NOZZE DI FIGARO – North Carolina Symphony

"Gruber as the wily Susanna and…Figaro take top honors for playing a believably amorous couple in a performance accented with highly amusing physical comedy. Gruber draws all eyes whenever on stage, her perkiness and sensuality topped by a strong, clear voice capable of many colors and emotions." – The News & Observer

– The News & Observer

"The evening began purposefully and zestfully…with an energy that inspired all cast members to bring the same level of energy and musical skill to their performances. This was especially true of Sari Gruber…whose voice epitomized the bel canto style of the true Mozartean soprano: the control of vibrato, the beauty of tone, the vocal flexibility, and the clear, ringing focus that allowed [her] to sing to everyone in the house Gruber's beautiful, soaring soprano expressively conveyed Susanna's warmth, wit and light-heartedness as well as the sincerity of her love for Figaro and respect for her mistress, the Countess. The role of Susanna is long, demanding, and requires professional caliber endurance; however Gruber never appeared in the least tired. From her two spirited duets…until the last note of the fourth-act finale, Gruber showed no sign of fatigue as she effortlessly sang Mozart's unrelenting long lines and coloratura passages."

– Classical Voice of North Carolina


LA BOHEME – Berkshire Opera

"Sari Gruber, whose appearances with this company over the past several years have been neo-legendary, played the role of Musetta, the best flirt in Paris."

– Blog the Berkshires


RECITAL – Candlelight Concerts

"I had the good fortune to hear Gruber sing Kurt Weill's Seven Deadly Sins at the Aspen Music Festival. The performance captured many of the soprano's rare gifts: her facility with stylistically varied music, her theatrical flair and her nuanced sense of humor. Gruber is a rising star as a recitalist and opera singer. Her appearance in Columbia, part of a busy season that includes a solo recital at Lincoln Center in New York, is not to be missed."

Baltimore Sun


LA BOHEME – Opera Company of Philadelphia

"Secondary roles were all excellently performed, with special praise for Sari Gruber's buoyant Musetta."



HANSEL UND GRETEL – Opera Columbus

"Sari Gruber's Gretel, all touching simplicity, sincerity and innocence, was sung with a soft vocal gleam, handsomely blending with Rivera in an exquisite prayer."

Opera News Online

"The title characters are portrayed by adult singers, but Sari Gruber as Gretel... [is] so youthful in appearance, if it weren't for [her] operatic voice... [she'd] almost get away with the illusion... singing the role with natural enthusiasm and blending beautifully and flawlessly in all the duets [with Hansel], most notably the famous Evening Prayer."

Columbus Dispatch


L'ELISIR D'AMORE – Boston Baroque

"...the bewitching Gruber ... proved admirably alert to every change in Adina's shifting emotions, here and elsewhere [the crucial 'Adina, credimi' scene]; always phrasing and listening, she's a real creature of the stage. Her dark lyric sound – smooth in cantilena... suited this role well."

Opera News

"[Sari Gruber] delivered the coloratura flourishes with accuracy, musicality and spirit. ...She has a warm and playful stage presence, too."

Boston Globe

"Gruber deftly projected the transience of a hard-edged, self-confident young woman accustomed to being in charge, to a committed partner in love. Vocally, the role was ideal for her gorgeous soprano, which soared easily into the high registers and negotiated the coloratura roulades with sensitive consideration of the dynamic markings, notable in her beautifully spun aria, 'Prendi, per me sei libero.'"

Berkshire Eagle

"In the role of Adina, soprano Sari Gruber displays not only the vocal quality for which she is noted, she is a vivacious and energetic actress. The perfect combination for this opera."

– WAMC Northeast Public Radio

"The zesty Adina was Sari Gruber whose voice soared through all the hurdles of the role. Her ravishing soprano and intelligent artistry made for a perfect and strong Adina."

– WBRK Radio


RECITAL – San Francisco Performances, Herbst Theatre

"Gruber has a gift for narrative, which became evident in songs by Hugo Wolf, especially in Der Knabe und das Immlein (The youth and the little bee), Das verlassene Mägdlein (The forsaken girl) and Begegnung (Encounter) — all stories well told…Going on to Spanish composers, Gruber's formidable chest voice came into play and her voice bloomed with color. In Jesús Guridi's Jota a distinctive, individual sound emerged to combine with her impressive musical and verbal expression, and the same qualities infused songs by Manuel de Falla and Enrique Granados…[In Szymanowski's Songs of the Infatuated Muezzin] Gruber's voice was beautifully used in the sinuous lines and vocal outbursts…."

San Francisco Classical Voice


LE NOZZE DI FIGARO – Opera Pacific

"Sari Gruber inhabit[s]...Susanna with laudible naturalness....Gruber makes of Susanna a wise and wiley heroine."

– L.A. Times

"Sari Gruber is no less effective as Susanna. She is captivating to watch, an actress with quick reflexes and an expressive face. Sticking her tongue out at Cherubino, fluttering her eyelashes, grimacing in disgust at the Count's caresses – she projects joie de vivre and we know she can't lose. The voice is compact, vibrant, pretty and very well controlled."

– The Orange County Register

"One of the great pleasures of opera is hearing a star in a role she makes her own - a star in a star part. You could hardly ask for a better example of that than soprano Sari Gruber, who sang the role of Susanna...and she inhabits the part in every nuance and every gesture, every note and every trill.... Gruber was an expected delight. She sang in the company's recent production of Mozart's Don Giovanni, and her thrilling, dramatic voice and charming personality are still well-remembered."

– U-Entertainment (Orange County)


AGRIPPINA – Boston Baroque

"Soprano Sari Gruber's coloratura was as clean and bright as a whistle, and her quick-witted duplicity as Poppea was fun to watch."

– Boston Globe

"The biggest hand went to [Nero] ... and soprano Sari Gruber, whose Poppea mixed minx, realpolitik, and dazzling vocalism."

– The Boston Phoenix

"Soprano Sari Gruber's Poppea ... sang her role well and displayed solid acting ability, strong stage presence, and the ability to weave into her every inflection a gentle seduction of the audience that was hard to resist."

– Opera Online


LE NOZZE DI FIGARO – Austin Lyric Opera

"Soprano Sari Gruber's glowing warmth and extraordinary color range were ideally suited to the role of Susanna, Figaro's bride-to-be."

– Express-News


DON PASQUALE – Opera Company of Philadelphia

"OCP was very lucky to have secured the admirable Sari Gruber. The young American soprano proved to be an excellent comedienne, with flashing eyes and a convincing line in both seduction and (feigned) bitchery. ...She coped with Donizetti's demands in excellent style, keeping acuti brief and fielding a genuine trill."



MESSIAH – Boston Baroque

"Soprano Sari Gruber, admired in Mozart roles with Berkshire Opera and Boston Lyric, sang with silvery tone and vivid, personal expression of the text. She was radiant in the narrative about the shepherds, then gamboled delightfully through 'Rejoice greatly.'"

Boston Globe

"Gruber, light and airy, shone particularly on 'How Beautiful Are The Feet.'"

Boston Herald


DON PASQUALE – Opera Company of Philadelphia

"Sari Gruber as Norina gave [her] role conversational directness. In particular, Gruber smartly contextualized vocal show-off moments in her music as a breezy burst of energy."

The Philadelphia Inquirer


THE SECRET MARRIAGE – Opera Theatre of Saint Louis

" Sari Gruber...as [a] quarrelling sister, handled the high tessitura of [her] chattery vocal lines with charm and looked sensational in Jane Greenwood's costumes."

Opera News

"The role of Carolina is closer to the traditional soprano ingenue, but Gruber had plenty of wicked fun nevertheless, whether fleeing Lord Robinson or stealing a moment alone with Paolino. She sang gorgeously in a long role that usually seemed to put her above the staff."

St. Louis Post-Dispatch


RIGOLETTO – Connecticut Opera

"Gruber sang with graceful ease and a sparkling purity in her show-stopping aria 'Caro nome,' fearlessly unleashing her coloratura into the statosphere."

Hartford Courant


A MIDSUMMER NIGHT'S DREAM – Lyric Opera of Kansas City

"Sari Gruber's shining soprano and vibrant presence irradiated Helena."

Opera News


SAMSON – Netherlands Opera

"Delilah was very pleasant, but she was somewhat outshone by her attendant, sung by Sari Gruber, who produced some of the most beautiful singing of the evening...."

Opera Now

"As Delilah's lady-in-waiting Sari Gruber also enchants with her featherlight coloratura in the beautiful traverso accompanied aria 'With plaintive notes' -- cooing and seducing as the singing dove that did not and still does not bring peace."

NRC Handelsblad


REGINA – Lyric Opera of Chicago

"Sari Gruber made an impressive Lyric debut as Regina's daughter Alexandra with her pure, bright voice and abundant acting talent."

– Opera

"Sari Gruber's Alexandra floated delicate pianissimos in the quartet and had power on reserve for the end of Act III,...her climactic defiance."

– Opera News

"The fresh-voiced soprano Sari Gruber, as Regina's daughter Alexandra, emerged at the end as a strong survivor."

– Chicago Tribune

"As Regina's daughter Alexandra, soprano Sari Gruber made a convincing transition from lively but obedient teenager to independent woman." – Chicago Sun-Times

Chicago Sun-Times


Mendelssohn LOBGESANG and Bach CANTATA 79 – Berkshire Choral Festival

"An especially stunning moment occurred at the conclusion of the "Watchman Scene," as the tenor...asked "Will the night soon pass?" The triumphant response of the soprano "Die Nacht ist vergangen" ("the night is gone") was delivered in a chilling manner by Sari Gruber, whose luminous vocal instrument was among the evening's glories....Gruber and her soprano colleague...produced some lovely harmonies in their duet, "Ich harrete des Herrn," managing to soar above the choral textures, and compete as well with...the instrumental accompaniment....Among the soloists for the Bach, Gruber again was impressive."

The Berkshire Eagle


ROMEO AND JULIET – Chautauqua Opera

"One of the great strengths of the production is the casting. Sari Gruber is no teen-age Juliet. Both vocally and physically, she is womanly and gorgeous. Gounod sets the role mostly in a soprano's middle range, requiring her to be darker in texture than the vast majority of ingenue roles, yet he gives her coloratura which forces her to be light and precise. Ms. Gruber manages both with ease."

The Post-Journal

"Sari Gruber makes a convincing and beautifully sweet Juliet. Her difficult role, which seems to transition from quasi-coloratura to quasi-Wagnerian gave her ample opportunities to shine, move and captivate."

The Chautauquan Daily


RIGOLETTO – Lyric Opera of Kansas City

"Sari Gruber as Gilda seemed fiercely connected to her role, and … her attractive soprano…[and] potent sonority were a glue for the complicated vocal ensembles. The father-daughter duets were among the highlights of the evening."

The Kansas City Star

"...soprano Sari Gruber was magnificent in the role of Gilda. In the famous aria "Caro nome," Gruber's voice was both light and lovely. Her vocal line was nicely ornamented and impeccably tuned."

The Johnson County Sun


THE MESSIAH – Philharmonia Baroque

"Heading the solo quartet was soprano Sari Gruber, who deployed her sweet, pristine tone and impeccable phrasing to superb effect in 'How beautiful are the feet.' Even better was her rendition of 'I know that my Redeemer liveth,' with its limpid tone and broad, luxuriant phrasing."

– San Francisco Chronicle

"The solo parts were also performed with an impressive blend of artistry and assurance. Soprano Sari Gruber brought crystalline tone and elegant musical line to Part I's 'Rejoice greatly,' and she invested Part III's 'I know that my redeemer liveth' with exquisite tenderness."

– Contra Costa Times


DIE ZAUBERFLÖTE – Opera Columbus

"Sari Gruber's Pamina was finely etched musically, her gentle soul the perfect complement to...Tamino."

– Opera News

"[Tamino's] lovely singing and sense of line … proved worthy of all the opera's tests and trials. Sari Gruber is similarly gifted as Pamina, his beloved. She imbues all she sings with warmth and careful, intelligent phrasing, lending these qualities to her characterization as well."

– The Columbus Dispatch


LE NOZZE DI FIGARO – Kentucky Opera

"(Sari Gruber's) Susanna a feisty, self-confident woman with a voice of comparable boastfulness" – The


"Sari Gruber, [Figaro's] adoring Susanna, was fresh and winning." – Opera


RECITAL – Daytona Beach, Florida

"Sari Gruber's singing cast a spell over the audience at her recital in Port Orange…. With Gruber, songs weren't just a matter of appealing tunes or beguiling tones – though she delivered plenty of those along the way. No, Gruber had the voice and personality to make a song into a glimpse of a living, breathing person. Not just any singer could have created as varied a cast of characters as Gruber did in her recital."

The Orlando Sentinel

"Part of what made Gruber's lengthy performance so compelling, and occasionally stunning, was her ability to cast herself in the role of one vivid character after another…. The shifts had more to do with mood, with a slight tilt of the chin and tiptoed crescendo than with any seemingly conscious pose.
Each song, however, revealed a different facet of Gruber's dazzling talent. And, less obviously, the evening's stellar performances by Gruber and her pianist revealed the beauty of the song in recital, both artful and infinitely varied and personal. In the end, it wasn't so much the artists' abundant abilities that made Friday's concert such a pleasure, nor was it simply the amazing variety of moods the music expressed or the fine, tone-perfect pitch Gruber found for each song. It was all that and something rarer: a pure, infectious delight in bringing the music to the audience and sharing it."

The Daytona Beach


COSI FAN TUTTE – Berkshire Opera Company

"...Sari Gruber's vocally and histrionically sparkling Despina – a sunny performance, warm without resorting to soubrettish cliches."

Opera News Online


HIPPOLYTUS AND ARICIA – Opera Theatre of St. Louis
"She (Jane Glover) had some fine singers with whom to work, notably Sari Gruber as Aricia, who offered her usual combination of beautiful singing, fine musicianship and an attractive stage presence."

St. Louis Post-Dispatch

"Sari Gruber was an irresistible Aricia, with honeyed tone and exquisite nuance."

The Dallas Morning News


THE RAKE'S PROGRESS – Lyric Opera of Kansas City

"Anne can seem a bloodless goody-two-shoes, but Sari Gruber -- determined in her circa-1950 red dress and heels -- makes her a good character who's actually believable. And she sings stunningly, gleaming soprano nailing pitches dead-on and making music of even the most disjunct lines."

Opera News / The Dallas Morning News

"More pleasing still was Sari Gruber as Anne Truelove, Tom's faithful love. Her focused soprano voice was penetrating without being piercing, and her stage presence kept one's eye riveted."

The Kansas City Star


LE NOZZE DI FIGARO – New York City Opera

"Ms. Gruber brought a sweet timbre and an ear for nuance to her portrayal of Susanna, and Mr. Ely…matched Ms. Gruber's agility and timing."

– The New York Times


LA RONDINE – Los Angeles Opera

"What, in fact, brings the opera to life is everyone else. Here it is … Magda's maid, Lisette, sung with appealing spirit and a good sense of fun by … Sari Gruber."

Los Angeles Times


DIE FLEDERMAUS – St. Louis Symphony

"The first two performers to appear were also the most impressive vocally … Sari Gruber was back playing a maid as the stage-struck Adele, holding the audience's attention whether dusting the conductor and mocking her employer with an engagingly sung 'Laughing Song.'"

St. Louis Post-Dispatch


LE NOZZE DI FIGARO – Boston Lyric Opera

"Sari Gruber won the biggest hand for her deftly sung Susanna. Her soprano is blithe and disciplined; she's a good musician and sings in Italian (as opposed to the international phonetic alphabet, which is what too many others fall back on). She's a presence onstage.

The Boston Globe

"That left Sari Gruber, as Susanna, as the main engine driving the plot. She was more than equal to the task. Her characterization was detailed, charming, resourceful and sympathetic. Gruber uses her gifts with intelligence and musicality."

Boston Herald

"Sari Gruber acted as well as she sang and she sang extremely well."

Digital City Boston

"Quick moving and full of personality, soprano Sari Gruber was delightful as Susanna, Figaro's bride. One thought this sharp-witted bundle of energy would be more than a match for any lecherous aristocrat."

The Patriot-Ledger


THE MARRIAGE OF FIGARO – Opera Theatre of St. Louis

"Sari Gruber was a blazing-voiced firecracker of a Susanna."

– Opera News

"As Susanna, soprano Sari Gruber sang beautifully, moved well and acted convincingly."

– St. Louis Post-Dispatch

"The most vivid singing was from Sari Gruber as a nicely conspiratorial Susanna."

– The New York Times


FALSTAFF – New York City Opera

"Sari Gruber was delicate yet full of spice as Nannetta."

– Newsday


COSÌ FAN TUTTE – Anchorage Opera

"Sari Gruber as Despina stole every scene she was in."

Anchorage Press

"Sari Gruber's performance as the maid, Despina, highlighted the first half. She played the role to its comic fullest while keeping her tone strong without being brassy. She made every note important and filled with movement."

Anchorage Daily News


DIE ZAUBERFLÖTE – Berkshire Opera Company

"Soprano Sari Gruber proves once more a winsome Mozart singer, her Pamina a vision of innocence,with high notes that float effortlessly."

The Berkshire Eagle

"The singing was highlighted by the flawless and instinctive artistry of Soprano Sari Gruber as Pamina."


"Sari Gruber's Pamina was delightfully elegant in her singing – particularly her expressive legato in the aria 'Ach, ich fühl's.'"

Times Union

"Sari Gruber was a spunky Pamina. When she reached her great aria she offered exquisitely Mozartean tone, phrasing, and dynamics."

The Boston Globe

"Soprano Sari Gruber who previously charmed Berkshire Opera audiences in THE MARRIAGE OF FIGARO once more proves herself to be a Mozart singer and character interpreter par excellence."

Curtains Up


HANSEL AND GRETEL – New York City Opera

"Sari Gruber was entirely adorable as Gretel."

New York Daily News


LE NOZZE DI FIGARO – New York City Opera

"Sari Gruber's Susanna was nothing short of sensational, and this is, of course, Susanna's opera: she merely lets Figaro believe he is pulling the strings. Perky, pretty and very musical, she also sang a lovely, leisurely 'Deh, vieni.'"



THE FANTASTIC MR. FOX – Los Angeles Opera

"Sari Gruber's Miss Hedgehog was the vocal standout, singing her one great aria with wonderful technique and conveying great pathos."

Das Opernglas

"Sari Gruber as Miss Hedgehog gives a standout performance."

San Francisco Chronicle

"Life's darker side, in the bittersweet song about loss and aging of Miss Hedgehog, nicely shaped by Sari Gruber, offered one of the opera's most touching moments."

The Albuquerque Journal


LE NOZZE DI FIGARO – Berkshire Opera Company

"English articulation was excellent, particularly in the case of Sari Gruber's cutie-pie Susanna. She was clever at comic gesture, and her vocal intonation was exact."

– Opera News

"Sari Gruber's Susanna was brightly, sweetly, and tirelessly sung."

– The Boston Globe

"Sari Gruber was a pert Susanna, singing with nimble vigor. She not only sang but acted with comic flexibility as well as illuminating Susanna's more passionate side."


"The attractive soprano Sari Gruber was delightful as Susanna. Her aria, 'Deh, vieni,' delivered straight-faced before a huge crescent moon, was a triumph of innocent guile."

– The Berkshire Eagle


LE NOZZE DI FIGARO – New York City Opera

"Sari Gruber was an engaging Susanna with fine comic instincts. Her fresh, focused soprano blossomed in a beautifully shaped account of 'Deh, vieni, non tardar.'"

– The New York Times


SLOPIEWNIE (Szymanowski) – Festival of Contemporary Music

"Sari Gruber's direct musicality in the Szymanwski songs was a delight."

The New York Times