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"A genuine opera prima donna in full measure!" Il resto di Carlino (Konstanze – Teatro Comunale di Bologna 1989)


"The voice of Christine Weidinger rings clear and rich with delicate nuance."

– Yves Hucher Nice Matin, Nice (Maria Stuarda - Monte Carlo 1993)


"Due to her effortless technique, impeccable musicianship and fine stage presence, Weidinger must be classed among the world’s pre-eminent sorpanos"  - Janelle Gelfland The Cincinnati Enquirer (Konstanze - Cininnati 1992)

"Christine Weidinger proved worthy of the lofty position to which we have elevated her: beautiful voice, agile, generous in the lower register, well-endowed in the high register, remarkably well-managed with masterful skill and finesse and inexhaustible breath support. A beautiful and expressive Lucrezia." – Alex Mattalia Le Meridional  (Lucrezia Borgia – Marseille 1992)

"She sang the long, taxing music in purely focused, limpid tones and poignantly embellished phrases. But this was  much more than an accomplished vocal performance. Weidinger’s acting was inspired – a telling portrait of a woman slipping through sanity into delirium and emptiness." – Tim Smith, Sun-Sentinel, Miami-Fort Lauderdale (Lucia- Miami Opera 1992)

"A powerful voice, nevertheless extremely agile and capable of great expressiveness." – Gunter Davenbeck, General Anzeiger, (Donna Anna – Bonn 1991)

"The quality that makes her a favorite artist of Riccardo Muti was abundantly clear…If Callas had heard Christine Weidinger we believe she would have applauded. The public certainly did so with enthusiasm and with good reason!" – M. Cardona, El Mercurio (Fiordiligi – Santiago de Chile 1991)

"Christine Weidinger swept all before her with an Elettra of galvanizing passion and stunning vocal bravura." – Martin Bernheimer, Los Angeles Times (Idomeneo- LA Opera 1990)

"Christine Weidinger’s Maria is impressive, with a wonderfully controlled vocal line and authentically spectacular crescendi even on the highest notes." – Christopher Morley, Birmingham Post (Maria Stuarda – Buxton [England] Festival 1993)


"She brings to the title role the dignity of the belcanto “Queen” roles, lets her perfectly projected soprano voice rise effortlessly above the “tutti” ensembles, meets with artistic understanding and legato singing the highest standards." – Michael Beughold, Neue Westfälische (Aida – Bielefeld 1996)


"Concert by Soprano Christine Weidinger proves unforgettable.

More than three thousand people who gathered in a section of the  Bustamente Park on the cold night of this past Wednesday witnessed a luxurious concert….It was after 10 o’ clock when the eagerly awaited North American soprano Christine Weidinger appeared on the stage….one could observe that her voice has grown in size and darkened pleasingly. Weidinger demonstrated that she is perfectly capaof handling Verdi roles sung in impeccable form and very much in the proper Verdian style. Of belcanto with which she is more usually identified, there was only “Casta diva” where her singing was sweet and sensitive and her cabaletta was well-phrased with coloratura capable of anything. (She) demonstrated …rich nuance, beautiful phrasing and a beautifully clear voice resulting in an impeccable and flawless concert. – La Tercera, Santiago de Chile (benefit concert for the music conservatory - 2001) 

…the best…was the soprano, [Christine] Weidinger, who having begun with classical repertoire (she is a great Mozart singer and has also sung Handel) now benefits from an intelligent vocal evolution and offers an impeccable Leonora…combining vocal control, dramatic sensibility and infallible musicality." - Fernando Fraga, Scherzo, [national music magazine of Spain] (Il trovatore) - Teatro Real Madrid 2001)

"Christine Weidinger, another Mozart expert, offered a deliciously intimate Countess, demonstrating absolute mastery of the role." – Melendez-Haddad, ABC Ediçion Cataluña   (Nozze di Figaro – Barcelona 2000


"With a voice that seemed at first too big for the role, Christine Weidinger triumphed superbly over all the difficulties of her part with a dazzling final aria!" - François Lebel, Opéra Internationale (Elettra in Idomeneo – Toulouse)


"Christine Weidinger [is] an Elettra who can both chew the scenery with daredevil accounts of her two “mad” arias and mouold sensitive line in “Idol mio” – a complete portrayal."  – Rodney Milnes, The Times [of London] (Idomeneo, Welsh National Opera)

"Lucrezia Borgia was sung by the “soprano assoluta” Christine Weidinger, who seized the stage in a grand show of musicality which was astonishing owing to her wide vocal range – able to reach the most difficult high notes as well as the low notes so extremely challenging for the female voice. The long “a cappella” passages graphically demonstrated all the talent of this great singer." – Victor Mandujano, El Diario, Santiago de Chile

"With a very ample voice which functions with no problem throughout its range, this soprano sculpts her entire performance with dramatic power – from the passionate low notes to the bravura top." – Mario Cordova, La Epoca (Lucrezia Borgia – Santiago, Chile 1994

"The quality of singing was excellent – most notably Christine Weidinger as Maria [who] almost rated a standing ovation every time she took the stage." – Meriel Patrick, Derbyshire Times, Buxton (Maria Stuarda, Buxton Festival, England 1993)

"She put the audience through an emotional wringer with singing that expressed the full gamut of feelings. Soaring lyric lines of young love; tender intimate moments with her child; child-like abandon as she prepares for the return of her husband…and her ultimate and utter despair – all captured the listeners’ hearts. Her second act “Un bel di” was gorgeous"  - Tim Lindeman, News and Record, Greensboro NC (Madama Butterfly  - Greater Greensboro Opera 1997)

"A powerful ringing soprano with just the right spinto edge." – Variety (Elettra – Los Angeles Opera 1990)


"Weidinger…known to the world’s top opera houses, made a strong showing  in the almost impossible vocal acrobatics of “O smania!  O furie! From Mozart’s Idomeneo. And the intense “La mamma morta” from “Andrea Chenier”, filling each with dramatically exciting vocalism." – Roy Dicks, The News and Observer (benefit concert for Opera Company of North Carolina, Raleigh NC 2005)       

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