Čury mury fuk - Dvořák's Rusalka
So ist es denn aus mit den ewigen Göttern - Wagner's Die Walküre
Malheureux roi - Berlioz' Les Troyens
With a voice and delivery described as “show-stopping”, “ripe, round” and “searing”, Gretchen Krupp is quickly building a reputation for extraordinary vocalism and theatricality. Her repertoire is wide-ranging and eclectic, encompassing old and new, dramatic and comic. Hers is a talent firmly coming into its own.
Returning to the Atlanta Opera in the 2022 season as a Glynn Studio Artist, she covered Judith in Bluebeard’s Castle and Fricka in Das Rheingold, and performs Kate Pinkerton in Madama Butterfly, Paquette in Candide, and Flosshilde in Das Rheingold, covering Fricka. In addition, Gretchen created the role of Mother Earth in the premiere of Amy Leventhal’s new opera Our Sacred World. Upcoming performances include Mary in Der Fliegende Holländer at Santa Fe Opera, covering Ježibaba in Rusalka and First Maid in Elektra at Dallas Opera.
In the 2021 season Gretchen made concert appearances with the Dallas Opera and Baltimore Concert Opera, as well as staged performances with the Atlanta Opera as Edith in The Pirates of Penzance and Teacher in The (R)evolution of Steve Jobs. Further performances included a return to Wolf Trap Opera as a Filene Artist, performing Armelinde in Viardot’s Cendrillon and Dorothée in Bologne's L’Amant Anonyme. In recital she gave her first performance of Wagner’s Wesendonck Lieder and was a featured soloist with the National Symphony Orchestra.
Prior to the pandemic, the role of Samira in Corigliano’s The Ghosts of Versailles marked Gretchen’s European debut at the Château de Versailles Spectacles. Elsewhere she has sung and/or covered the Witch in Hansel & Gretel, Mère Marie in Dialogues of the Carmelites, Cornelia in Giulio Cesare, and Mrs. Noye in Britten’s Noye’s Fludde with such companies as the Glimmerglass Festival, the Des Moines Metro Opera, and the Greensboro Opera.
A winner of numerous awards, Gretchen received the Georgina Joshi International Fellowship, was a grand finalist in the Metropolitan Opera National Council Auditions, and a finalist in the Eleanor McCollum Competition.