Reviews

Der fliegende Holländer
Staatsoper Hamburg, 2020

Andrzej Dobber’s inaugural aria “Die Frist ist um” in the title role already gave an inkling of great things ahead. Here, on stage, is a hero-baritone of the absolute world class: powerful voice, crystal clear, understandable text, perfect pitch and top-quality acting. There is hardly a better and more convincing way to sing and play this part. His professional acting and the powerful appearance, reminiscent of Jon Vickers, contributed to the fact that an impressive total work of art was presented here. This Dutch man lived. After this terrific performance by Mr Dobber, there is no doubt that Katharina Wagner will pick up the phone as soon as possible. This man belongs on the Green Hill! Such an invitation should not, however, prevent him from visiting Hamburg as often as possible. The house on Dammtorstrasse urgently needs such heroes.
Ulrich Poser / klassik-begeistert.de

Lohengrin
Staatsoper Hamburg, 2019

Musically, the evening was excellent. The most convincing was Andrzej Dobber in the role of The King’s Herald. A voice full of power, penetrating and confident in every key, and at the same time an excellent actor – a real gem of this staging.
Christian Biskup /ioco.de

Der fliegende Holländer
Grand Opera Houston, 2018

In black leather drag, Polish baritone Andrzej Dobber makes a commanding, haunted Dutchman. He sports a spiffy red leather great coat to match his ship’s blood-red sails, but he’s menacing nonetheless.
With rueful but stirring voice, his first appearance is accompanied by his gigantic shadow that looms over the set. Unlike his signature role, lecherous Baron Scarpia in Puccini’s Tosca, the Dutchman is inky and damaged, doomed to wander the seas except for a reprieve every seven years. If he can find a faithful lover who will be true to him until death, the curse will be lifted. Dobber brought out the darkness, the scarring on his heart. His opening aria, “Die Frist ist um” (“The time has come”) was a virtual poem of despair and resignation, wonderfully modulated by his craggy voice that cried with a ragged hopefulness.
D.L. Groover / houstonpress.com

Khovanshchina
Wiener Staatsoper, 2017

Sinister Baritone
The Polish baritone, Andrzej Dobber, played the sinister, shadowy figure of Shaklovity, a complex character who, although a true patriot, devoted to Russia, has psychopathic tendencies, and not averse to violence against his own people. Dobber put in a terrific performance, his voice strong across the range, his phrasing secure and perceptive, his dynamic control precise, with pleasing intonation. We first meet him, at the beginning of act one, intimidating and threatening the Scribe. He certainly acted and looked every bit the part. His single-minded intriguing was always undertaken for the betterment of Russia. The apparent contradictions in his behaviour bringing a greater degree of realism to the character. At the centre of act three Dobber delivers Shaklovity’s paean to Mother Russia, a deeply moving monologue, based on a folk song, in which he agonizes over her misfortunes. Dobber’s rendition was first class, his singing laced with grief for his countries inescapable fate, subtly colouring every line to bring out the poignancy and pathos of the piece. When Khovansky is assassinated in Act four, Shaklovity, clearly culpable in the affair, sings with ironic glee, “Glory to the White Swan” his hatred visible, mocking the peasants who mourn his death.
Alan Neilson / operawire.com

Die Frau ohne Schatten
Staatsoper Hamburg, 2017

The Polish baritone Andrzej Dobber stands out from the cast (the audience gives a proof to it in the final ovations). Last season he performed the superb Scarpia at the Semperoper Dresden – this time he plays the manly and generous Barak, with a solid voice and a beautiful stage presence. With the explosive Dyer’s Wife sang by Lise Lindstrom – a striking Salome in Lyon two years ago – they form a moving and credible couple.
Emmanuel Andrieu / opera-online.com

Otello
Semperoper Dresden, 2017

Andrzej Dobber’s Iago makes us forget that there are other possible interpretations. The articulation of his singing, founded on immaculate diction and perfect emission; the psychological penetration of the character devoid of any excess (an almost impossible task for Iago), worthy of a great prose actor; the meticulous knowledge of the part, which allowed him to breathe in unison with the conductor (and what a breath it is), made Dobber’s interpretation of a champion. It is useless to describe it in detail: imagine everything you would like from Iago, that is everything that distinguishes the character, and you get to the art of this great baritone who juggles between Dresden, Hamburg and his motherland Poland, depriving the rest of the world of such great virtue.
Lorenzo De Vecchi / operaclick.com

Macbeth
Wiener Staatsoper, 2016

This was Andrzej Dobber’s first Macbeth in the house. Not just in looks, but in stage demeanour and vocal authority, this Polish baritone somewhat resembles the great Canadian tenor Jon Vickers – echoing his astute attention to words, biting articulation and wide range of dynamics. Throughout, he maintained superlative accuracy in intonation and timing which well complimented, if not indeed inspired, his colleagues.
Moore Parker / theoperacritic.com

Tosca
Grand Opera Houston, 2015

Polish baritone Andrzej Dobber is a terrifying Scarpia, with a stage presence that can make you forget his terrific voice. This is his HGO debut and it would be thrilling to see him return, particularly in a late work of Verdi.
Theodore Bale / houston.culturemap.com

Tosca
Grand Opera Houston, 2015

Polish baritone Andrzej Dobber makes a formidable villain as cruel Baron Scarpia, who’ll stop at nothing to destroy his political enemy Cavaradossi and satisfy his lust for the fiery Tosca.
Everett Evans / nhregister.com

Tosca
Grand Opera Houston, 2015

The surprise vocal hero of the night was the villainous Baron Scarpia, sung by Polish baritone Andrzej Dobber in his HGO debut. Scowling and snarling, he looked like the devil but sang like a saint. It was almost sad to see him die, knowing we wouldn’t hear his clean and precise voice soar anymore that evening.
Sydney Boyd / bachtrack.com

Rigoletto
Grand Théâtre de Genève, 2014

The most impressive out of the cast was the formidable Polish baritone Andrzej Dobber – impressive Simon Boccanegra at the Opéra de Lyon last June – with a warm tone and a beautiful expansiveness in the interpretation of the title role, intensely expressive in both lyricism and dramatic violence, enthusiastically acclaimed by the Geneva public.
Emmanuel Andrieu / opera-online.com

Simon Boccanegra
Opéra national de Lyon, 2014

The cast, for its part, is exceptional and thrilling from start to finish, starting with Andrzej Dobber, great in delivering a stylish and rich interpretation, who draws a portrait of Simon Boccanegra of a poignant humanity. With a voice not immense but well projected, it offers a song rich in colors and nuances.
Emmanuel Andrieu / opera-online.com

Rigloletto
Lyric Opera of Chicago, 2013

That the unfolding tragedy catches the viewer in its sweep is thanks largely to the natural pull of Dobber’s presence as actor as well as singer. The Polish baritone inhabits Rigoletto’s form and misery, this court mischief-maker whose spitefulness comes back to haunt him, as if born to both. Vocally, he is a full-range artist who conjures the jester’s dark self-consciousness – in comparing himself to the assassin Sparafucile (“Pari siamo”) – as convincingly as he begs for compassion from the courtiers who have taken his daughter (“Cortigiani, vil razza dannata”).
Lawrence B. Johnson / chicagoontheaisle.com

Rigloletto
Lyric Opera of Chicago, 2013

The success of any Rigoletto hinges on the singer in the title role and, in his Chicago debut, Andrzej Dobber delivered the vocal goods in quite sensational fashion.

The role of the embittered hunchback fits the Polish baritone’s instrument like a perfectly tailored suit, Dobber possessing the requisite big, flexible baritone to encompass all the role’s considerable demands. Singing with great ease of production, Dobber was able to float a honeyed Italianate legato in his tender moments with Gilda as well as deliver the dramatic moments as with his vehement Cortigniani, where Rigoletto sings of his intense hatred for the nobles who torment him.

A tall man, Dobber eschewed the hunched-over shtick, and at times was a bit too generalized dramatically with some crucial moments needing more of the spark and intensity he brought to the final scene. Still, Dobber’s singing was a consistent pleasure and, along with Shagimuratova, reason enough to battle the winter weather to catch this production.
Lawrence A. Johnson / chicagoclassicalreview.com