Don Pasquale, Minnesota Opera
"Andrew Wilkowske, oily yet endearing, was predictably suave as the scheming Malatesta, syllablizing at warp speed and plainly enjoying every nanosecond of it."
Opera News, October 7, 2017
"Andrew Wilkowske was deliciously devious as Dr. Malatesta, exuding delight in putting the pompous old codger in his place, and energized by his mischief-making. A scene in which he flourished a long cape in order to hide Ernesto from Don Pasquale was terrific physical comedy. Wilkowske, too, has a phenomenal voice. A comic duet sung by Wilkowske and Colclough was one of the highlights of the evening, leading to a break in the fourth wall as they returned to stage coaxing the obliging audience to request an encore."
Talkin' Broadway, October 15, 2017
Don Giovanni, Skylark Opera
"Baritone Andrew Wilkowske, as Giovanni's servant Leporello, sprang a major surprise in the serenade by playing the elegant guitar accompaniment himself. He proved a highly effective foil to Preisser's Giovanni, and a skillful practitioner of the sight gags director Neu inserted to animate the pair's boisterous relationship.
Wilkowske excelled vocally, especially in the relentless patter of the "Catalogue" aria enumerating Giovanni's pan-national conquests. His articulation of the production's English translation was immaculate."
Minneapolis Star Tribune, June 16, 2017
"As Leporello, baritone Andrew Wilkowske is the perfect foil, outstanding in the famous “Catalog” aria where he lists his master’s many conquests."
MinnPost, June 21, 2017
"Andrew Wilkowske’s Leporello is a brilliant straightman to Preisser’s overgrown frat boy (see below), and the two bring to life some unexpected comedy in moments."
Twin Cities Arts Reader, June 16, 2017
"Advising his employer to lay off on ladies and partying, Andrew Wilkowske’s Leporello was the show’s comic and voice of reason. He made great use of Preisser and Neu’s humorous English translation that included phrases like “go to hell,” “this sucks,” and about the composer himself, “Mr. Mozart is so overrated.”
Minnesota Playlist, June 20, 2017
The Barber of Seville, Florentine Opera
"Andrew Wilkowske’s Dr. Bartolo is fearlessly funny"
Milwaukee Journal-Sentinel, May 6, 2017
"As Bartolo, Rosina’s jealous, self-serving guardian, baritone Andrew Wikowske almost stole the show with his mind-boggling display of rapid-fire vocal pyrotechnics in the second act, demonstrating Rossini at his most unbridled tongue-in-cheek hilarity."
Shepherd Express, May 9, 2017
Lucy, New Focus Recordings
"Baritone Andrew Wilkowske is compelling as Maurice, and manages the diversity of challenges in his music with skill and finesse....Lucy is a poignant and thought-provoking work, one well worth hearing."
Opera News, September 2017
"Wilkowske delivers an emotionally stirring performance in the sole singing part...And don't be surprised if “Lucy,” a two-note motif sung with heartfelt longing by Wilkowske, remains with you long after the recording's over....That such an unusual story should end up being so moving is a compliment to everyone involved but perhaps Glover, Rourke, and Wilkowske most of all."
Textura, May 2017
Lucy, Urban Arias
"'Lucy,' a presentation of the always-interesting UrbanArias, opened for a four-performance run at H Street’s Atlas Performing Arts Center on Saturday with baritone Andrew Wilkowske as Temerlin, and Wilkowske nailed it, mostly because he is as nuanced an actor as he is a singer. The score doesn’t call for vocal acrobatics or for a particularly big range and only occasionally for bursts of passion. What it needs, and what it got from Wilkowske, is subtle shades of wistfulness, impatience and wonder, all bolstered by the endurance it takes to be alone onstage for an hour."
Washington Post, April 2, 2017
"Wilkowske’s performance convinces from the beginning, which is key to why Lucy works. The pain of Maurice’s loss is palpable from the first moment. Such is Wilkowske’s investment in the role that when he refers to Lucy as “our little girl,” lyrics that might make one wince, we believe his adoring belief. As he goes on to regale us with anecdotes from his life with Lucy, sometimes as playful as she must have been, the emotional core of his character is never anything but credible. The role was written for Wilkowske and this is not his first time on stage with it. His sure vocal command of the score and his sensitive empathy for Maurice are impressive."
DC Metro Theater Arts, April 4, 2017
"[John Glover and Kelley Rourke] found a marvelous collaborator and interpreter in the singer Andrew Wilkowske. The baritone has approached the work through a deep empathetic acting process. Unlike so much operatic settings of music, we can clearly follow his words and enter Temerlin’s emotional state in every song."
DC Theatre Scene, April 4, 2017
"Baritone Andrew Wilkowske, who premiered the work and recorded it for New Focus Recordings, inhabited the role of the disturbed Temerlin with uncanny directness. Bursting through a door carrying a half-empty bourbon bottle, Wilkowske delved into deep psychological waters as the character, learning of the death of his “daughter” at a wildlife refuge in The Gambia, is flooded with memories of their life together....Wilkowske displayed a broad range of vocal characteristics, from a stentorian low range into a disembodied falsetto, even devolving into rhythmic speaking and shouted Tarzan shrieks."
Washington Classical Review, April 8, 2017
The Invention of Morel, Chicago Opera Theater
"Baritone Andrew Wilkowske energizes the role of the Fugitive with non-stop physicality and intensity, capturing the character’s obsessive edginess and capably handling every vocal demand."
Classical Voice North America, February 21, 2017
"Baritone Andrew Wilkowske created a touching, firmly sung Fugitive."
Opera News, February 18, 2017
"forcefully sung and acted by baritone Andrew Wilkowske"
Chicago Tribune, February 19, 2017
"The story begins as a bearded Fugitive (Andrew Wilkowske) and his “double,” who serves as the Narrator (Lee Gregory, like Wilkowske a fine actor and strong baritone), stagger onto a lush, seemingly deserted island in the South China Sea."
Chicago Sun-Times, February 19, 2017
"The committed cast threw themselves into the proceedings with impressive dedication. Andrew Wilkowske and Lee Gregory each displayed a strong baritone as the Fugitive and Narrator, respectively, blended well in their many duetted moments and carried the action with dramatic urgency for most of the opera’s first half."
Chicago Classical Review, February 19, 2017
"Strikingly, the actors (Andrew Wilkowske and Lee Gregory) who play these roles look uncannily alike and work together harmoniously. Their strong performances are aided by compelling characterization"
Stage and Cinema, February 25, 2017
The Barber of Seville, Opera Coeur D'Alene
"The part of Figaro was taken by Andrew Wilkowske, whose warm baritone and beautiful, idiomatic Italian provided pleasure throughout the evening....winning stage presence and delicious delivery of the physical comedy required of him..."
The Spokesman-Review , September 8, 2016
The Marriage of Figaro, James J. Hill House (Angels and Demons productions)
"Despite playing up the domestic abuser in Count Almaviva, Andrew Wilkowske makes the character invitingly complex."
Saint Paul Pioneer Press , July 10, 2016
"Andrew Wilkowske, with an open and agile baritone, was deft and swaggering as the wayward Count, a role for which it is very difficult to create sympathy. Wilkowske’s Count was less menacing and villainous – predominantly spoiled, more immature than malicious, genuinely taken aback that not everything would follow his whim, making the Countess’s devotion to him and final forgiveness feel slightly more deserved."
Twin Cities Arts Reader , July 16, 2016
1776, Milwaukee Opera Theatre
"There's also more pointed exchanges between Adams and John Dickinson (a terrific Andrew Wilkowske)...Musical highlights included...a Wilkowske-led anthem to conservatism..."
Milwaukee Journal Sentinel , May 24, 2016
The Merry Widow, Boston Lyric Opera
"The relationship that stood out the most was that of Baron Zeta, hilariously oblivious and exquisitely sung by Andrew Wilkowske, and his orderly Kivowitz, played by actor Alex Portenko."
Arts Impulse, June 10 2016
"Andrew Wilkowske took up the role of Baron Mirko Zeta with good comic instincts."
Boston Globe , April 30, 2016
" Andrew Wilkowske as Baron Zeta and Jesse Blumberg as Njegus displayed good comic sense."
The Boston Musical Intelligencer, April 30, 2016
The Magic Flute, Minnesota Opera
"Andrew Wilkowske's comedic gifts, happily familiar to the Twin Cities audiences, have had no more flattering showcase than Papageno. Charismatic but not unduly hammy, he made the scene of the bird-catcher's near suicide a thing of unaccustomed emotioanl consequence and dramatic weight"
Opera News, November 14, 2015
"...the excellent baritone Andrew Wilkowske, playing Papageno, brings a comfortable, funny, loose style to the part."
Minneapolis Star Tribune, November 17, 2015
"The birdman Papageno, the prince's sidekick, is Mozart's show stopper and comic relief, and Andrew Wilkowske seems to relish every second of it. A baritone with a warm, muscular tone, a comfort level with German diction and a gift for physical comedy, he's a natural for the droll Keaton-like character in this production."
Rochester Post Gazette, November 17, 2015
The Barber of Seville (Paisiello), Onsite Opera
"Andrew Wilkowske’s warm and full-voiced baritone was well-suited to his charismatic and characterful portrayal of Figaro. His voice sounds like it has the potential to evolve into the rarest of all things in modern opera: a great Verdi baritone."
Opera Today, June 15, 2015
"...a genuine, live-wire comic actor with fine linguistic skills."
Opera News, June 9, 2015
"...the smooth baritone of Andrew Wilkowske made the most of Figaro..."
Broadway World, June 19, 2015
"Baritone Andrew Wilkowske made such a showpiece of Figaro’s first act patter song that I was disappointed Paisiello left the character offstage for most of the rest of the opera."
New York Observer, June 17, 2015
"The vocally hardy baritone Andrew Wilkowske made a jocular Figaro."
The New York Times, June 10, 2015
"...and Andrew Wilkowske’s Figaro proved sly and nimble, colored by a handsome baritone voice."
Bachtrack, June 11, 2015
"As Figaro, baritone Andrew Wilkowske made the most of his comic moments, singing with firm tone and never resorting to mugging in the ensembles. He does not have an aria that is the equivalent of "Largo al factotum" but delivered a very funny patter number detailing Figaro's madcap personal history and extensive travels across the length and breadth of Spain."
Superconductor, June 11, 2015
The Elixir of Love, Minnesota Opera
"In his first outing as the endearingly roguish Dulcamara, local favorite and St. Paul resident Andrew Wilkowske delivered Felice Romani’s tongue-twisting patter (later burlesqued by W.S. Gilbert) with crowd-pleasing relish. Drolly dressed in purple pinstripes and a blaze-orange vest designed by Martin Pakledinaz, Wilkowske had all the makings of a great buffo, never more so than when registering astonishment at the apparent efficacy of his own nostrum."
Opera News, January 24, 2015
"As the fast-talking snake oil salesman Doctor Dulcamara, baritone Andrew Wilkowske is a ball of vocal and physical energy."
Twin Cities Daily Planet, January 27, 2015
"And Wilkowske's Dr. Dulcamara -- a colorful con man flamboyantly attired in a purple pinstripe suit and orange vest -- is an enjoyable blend of charm and brazen opportunism, rapidly pattering out his cynical subtexts beneath others' soaring paeans to love and optimism."
Pioneer Press, January 25, 2015
"Binder has two fine comic actors to work with: Andrew Wilkowske, whose snake-oil salesman, Dr. Dulcamara, is a lovable and desperate old rogue, and David Pershall as Belcore, who fancies himself a lady-killer."
Star Tribune, January 26, 2015
"Wilkowske could make a career out of playing the Oz-like snake-oil salesman Dulcamara" Rochester Post Bulletin, February 2, 2015
Lucy, Milwaukee Opera Theatre
"The storytelling rested largely on Wilkowske's shoulders, with occasional spoken lines heard on a tape (the voice of Sarah Sokolovic), as though they are clinical notes about the experiment. Wilkowske inhabited the spotlight comfortably, creating a vivid character, singing the demanding role with warmth, power and the sort of focused, communicative deliveries one expects from a seasoned actor."
Milwaukee Journal Sentinel, November 10, 2014
"The opera begins when Temerlin – played, sung, acted and enwrapped by the spectacular Andrew Wilkowske – hears the recording of the report of her death. It kicks him into a journey of memory of the years they lived as a family. Wilkowske begins to guide our travel down this lane a capella, singing of Lucy, a word he draws to exquisitely tender precision. He and his wife "devoted ourselves completely to raising Lucy." Wilkowske's baritone is full and rich, and he has a remarkable ability to be playful and dramatic in quick turns, depending on what part of the story he is telling.”
On Milwaukee, November 8, 2014
"Wilkowske uses his voice and acting chops to subtly infuse the story with a pensive nostalgia, even while evoking the heady, in-the-moment optimism that drives the incidents of the story....Wilkowske poignantly and beautifully sings at the end of the opera, recalling the image of Lucy moving through the forest, “Lucy, in her natural setting, is a sight of great beauty. The woods hold no fear for her….Her movements are a flowing ballet of grace and dignity.” Milwaukee Magazine, November 8, 2014
Silent Night, Cincinnati Opera
"As the charming aide-de-camp, Ponchel, Andrew Wilkowske brought humor and vocal nuance whenever he was onstage. With an alarm clock to remind him when he used to have coffee with his mother, his character added a human touch."
Cincinnati Enquirer, July 11, 2014
"Silent Night is a wonderful opera, and Cincinnati Opera did it proud, both musically and dramatically...all the major characters were extremely well sung and acted: Phillip Addis as a poignant Lt. Audebert; Andrew Wilkowske as his aide Ponchel (a truly lovable character); Thomas Glenn as Jonathan Dale, unable to accept the death of his brother William, and Tyler Alessi as that doomed brother; and Hugh Russell as a resonant Father Palmer. Wilkowske was repeating his role from the Minnesota premiere, as were Craig Irvin (Lt. Horstmayer) and Gabriel Preisser (Lt. Gordon)."
Opera News, July 10, 2014
The Emperor of Atlantis/The Clever One, Chicago Opera Theatre
"Andrew Wilkowske as the two rulers brings a theater sensibility along with a masculine presence to his roles, and warms them in an easy, spinning baritone."
New City Stage, June 1, 2014
"Wilkowske and Birsan, especially, are outstanding as The King, full of himself, and The Clever (Woman), brilliant and warm."
Chicago Sun Times, June 1, 2014
The Magic Flute, Minnesota Opera
"Andrew Wilkowske brought a charming baritone to Papageno, creating an eandearing character withing the Keaton impersonation."
Star Tribune, April 14, 2014
"Impressive...Andrew Wilkowske finding sadness within Papageno's mock bravura."
Pioneer Press, April 13, 2014
Manon Lescaut, Minnesota Opera
"And Andrew Wilkowske is an impressive combination of raw and refined as the dandy who takes Manon for his mistress."
Pioneer Press, September 22, 2013
"Andrew Wilkowske, displaying a gift for physical comedy, makes a fittingly fatuous Geronte."
Star Tribune, September 22, 2013
King For A Day, Glimmerglass Festival
"...Andrew Wilkowske brought impressive command of text to La Rocca..."
The Wall Street Journal, August 14, 2013
"The cast embraced the undertaking, every role conveyed with pizazz...The feuding Baron Kelbar (Jason Hardy) and La Rocca (Andrew Wilkowske) were superb."
The New York Times, July 22, 2013
"Two guest artists — bass Jason Hardy, as the clueless paterfamilias Baron Kelbar, and baritone Andrew Wilkowske, as the old fool La Rocca — more successfully embodied the buffa spirit, singing their music with accuracy and zest and finding humor in the characters themselves, rather than just in the stage business they had been handed."
Opera News, October 2013
"With a hair-do like a hood ornament on a Pontiac (splendid make-up and hair courtesy of designer Anne Ford-Coates), Andrew Wilkowkse is having a whale of a time as the daughter’s undesirable suitor La Rocca. His burnished baritone pleases in a part that is more usually barked by a buffo, and he pairs up successfully with Mr. Hardy for a nutty, well choreographed boxing match (yes, with gloves) in which his supple singing floats like a butterfly and his left hook stings like a bee."
Opera Today, August 13, 2013
"Jason Hardy and Andrew Wilkowske, as the nefarious and greedy social climbers, anchor the work with their musical intelligence and theatrical experience in the comique buffo characters. They complete the excellent core roles in the complicated plot. Hardy as Baron Kelbar, who wishes to marry off his daughter to advance his nepotistic ambitions, swings the whole story into action, while Wilkowske proves an inventive theatrical tour de force."
DC Theatre Scene, July 31, 2013
La Bohème, Minnesota Opera Under The Stars
"When [Christine Hageman] and baritone Andrew Wilkowske (exceptional throughout) started spitting tacks at one another during arguments, no translation was necessary."
Saint Paul Pioneer Press, June 14, 2013
Guns N' Rosenkavalier, Milwaukee Opera Theatre
"The bottom line is that it takes serious musical chops to fill an evening of tongue-in-cheek deliveries of the sort Wilkowske offered. He and Genghis Barbie clearly had not only the chops to pull it all off, but the theatrical sense to work the room and keep it all funny - very funny."
Milwaukee Journal-Sentinel, March 24, 2013
"Milwaukee Opera Theatre’s Guns N’ Rosenkavalier was a smashing success, with multiple fusions of art song and rock song...The very first song offered the perfect example: Queen’s “Don’t Stop Me Now,” performed solo by Wilkowske and his explosively vibrant voice."
Third Coast Digest, March 23, 2013
"Wilkowske then stood at the curve of the grand piano and put his big, gorgeous voice at the service of Richard Strauss' haunting “Morgen,”accompanied by pianist Ruben Piirainen. Next, he carefully sang Sufjan Stevens’ terse pop ballad “Futile Devices” (the title refers to words) accompanying himself on acoustic guitar. He then switched to electric guitar for a rocking “Sweet Child O' Mine” by the ’80s hair band Guns N' Roses, joined by Piirainen and the "leading post post-feminist feminist all-female horn experience," a French horn quartet called Genghis Barbie. The heavy metal anthem performed by six classically trained musicians brought the folks in the beautiful Helen Bader Recital Hall of the Wisconsin Conservatory of Music to their feet....Here, songs by Van Halen, Queen, Springsteen and Madonna seemed happy beside Brahms, Faure and Schumann."
Shepherd Express, March 26, 2013
Albert Herring, Florentine Opera
"Rodell Rosel (Albert) and Andrew Wilkowske (The Vicar) handle their parts beautifully—you can hear them keep the words forward even as they are negotiating some of the challenging vocal lines."
Milwaukee Magazine , March 13, 2013
"Andrew Wilkowske, Jamie Offenbach, Alisa Suzanne Jordheim and Kevin Newell gave strongly sung performances that leaned just enough on caricatures to bring a dash of comedy to their roles."
Milwaukee Journal-Sentinel , March 9, 2013
Silent Night, Opera Philadelphia
"...and the baritone Andrew Wilkowske had a star turn as Ponchel, Audebert’s hearty, goofy aide-de-camp."
The New Tork Times , February 13, 2013
"Andrew Wilkowske shines as Audebert’s droll aide, Ponchel. "
Baltimore Sun , February 16, 2013
"The audience favorite was baritone Andrew Wilkowske as Ponchel, the French barber-turned-soldier, who brightened the battlefield with buffo antics and sincerity. When Ponchel was shot dead after the truce by Jonathan, a Scottish soldier deeply wounded by the combat death of his brother, the Academy of Music resounded with wounded gasps. The reaction was a testament to Wilkowske’s full realization of the role as well as Puts’ ability to create quiet, dramatically charged moments.
Opera Pulse, February 25, 2013
"...while another baritone, Andrew Wilkowske, creates a vivid impression as [Lt. Audebert's] ill-starred aide-de-camp, Ponchel."
Associated Press , February 10, 2013
"As the ill-fated Ponchel, baritone Andrew Wilkowske was disarmingly and utterly charming with his little alarm clock and bunker graces. "
Bachtrack , February 10, 2013
"...the lovable French aide-de-camp Ponchel (Andrew Wilkowske), this opera’s answer to Corporal Radar O’Reilly on M*A*S*H*."
Anne Midgette, Washington Post , February 10, 2013
I Pagliacci, Mill City Summer Opera
"Impressive also is Andrew Wilkowske as the clown who both introduces and drives the action "
Pioneer Press , July 13, 2012
The Elixir of Love, Utah Opera
"...Belcore, played with on-the-nose hubris and vocal swagger by baritone Andrew Wilkowske as a World War I-era army sergeant "
Opera News, March 12, 2012
"Sergeant Belcore received most of the laughs, thanks in large part to Andrew Wilkowske's commanding presence."
Deseret News, March 12, 2012
Silent Night, Minnesota Opera
"Among the men, Troy Cook(Palmer), Andrew Wilkowske (Ponchel) and the tri-national trio of lieutenants (Liam Bonner, Craig Irvin, Gabriel Preisser) were especially notable."
Opera News, November 12, 2011
"When baritone Andrew Wilkowske as Ponchel sings of "a magnificent silence," punctuated musically by a few noiseless Mahlerian beats, an audience normally not afraid to fidget or cough didn't dare make a sound."
WQXR Operavore blog, November 15, 2011
Carmina Burana, Minnesota Orchestra
The three soloists – soprano Alicia Berneche, baritone Andrew Wilkowske and tenor John Tessier – were wonderfully expressive
Saint Paul Pioneer Press, June 9, 2011
The Emperor of Atlantis , Boston Lyric Opera
"And Andrew Wilkowske hit the mark dead center as Emperor Überall, capturing both the absurd performance art of political demagoguery and the primal human bewilderment in the face of Death."
Opera News, February 1, 2011
"The baritone Andrew Wilkowske's portrayal of Overall captures both his manic swagger and the crumbling of his veneer "
The New York Times , February 2, 2011
"Andrew Wilkowske makes an amusing, Chaplinesque Emperor Überall, who undergoes a moral conversion, sings movingly, and allows himself to become Death's first victim. "
Boston Globe, February 3, 2011
"Baritone Andrew Wilkowske brings a darker image to the performance as the Emperor himself. While his character brings an anxious and uneasy mood to the stage, his voice brought light and charm, which were fueled by his reliably sincere timbre, tone, and color."
The Uptempo Magazine, February 3, 2011
La Cenerentola, The Minnesota Opera
"But the most memorable characterization comes from Andrew Wilkowske. He's the prince's valet but, when asked to masquerade as his master, he sinks his teeth into the role...and the scenery."
Pioneer Press, November 1, 2010
"Foremost amongst the jesters are celebrated buffo bass Donato DiStefano as the irascible Don Magnifico and local favorite Andrew Wilkowske lending his vibrant baritone to the over-the-top antics of faux prince Dandini.
Twin Cities Performance Art Examiner, November 1, 2010
"Andrew Wilkowske, a familiar voice to audiences here, made the most of his role as Dandini, the valet who portrays the Prince, and he sang with impressive resonance."
MinnPost, November 1, 2010
"In a cast without weaknesses,...Andrew Wilkowske's hammy, swaggering Dandini and John Tessier's ardent agile Ramiro are also noteworthy."
Star Tribune, November 1, 2010
The Chocolate Soldier, Bard Summerscape
"As Bumerli, Andrew Wilkowske not only gives us a forceful baritone but a singer and actor...rendering his duet of 'The Letter Song' with energy and vitality."
The Millbrook Independent, August 11, 2010
"Baritone Andrew Wilkowske was perfect as Bumerli 'The Chocolate Soldier' with the proper romantic swagger and vocal charm to win all the ladies on stage."
Hudson Register Star, August 13, 2010
The Grapes of Wrath, Carnegie Hall
"Perfectly cast, Wilkowske carried off the evening's most challenging scene with sweet singing, sensitive acting, and overall aplomb....If new creative teams can work with the material as effectively as singers like Andrew Wilkowske [et al] have assimilated their roles, then audiences have something to look forward to. "
Opera Today, March 28, 2010
"Wilkowske's rich tenor embodied the innocence of Noah's pure, uncomplicated nature"
Backstage, March 23, 2010
"[The baby Moses and Noah] scenes, providing heavy-duty work from a couple of subsidiary characters, turned out to be the most ecstatically cheered of the evening."
Playbill, March 29, 2010
The Marriage of Figaro, Skylight Opera Theatre
"Andrew Wilkowske delivers an irrepressible Figaro, concocting stories and plots on the fly. He sings the role with warmth, ease and tremendous character."
Milwaukee Journal Sentinel, January 31, 2010
"Wilkowske did not merely sing, he probed and quipped and threw away lines with the music, and did it in a big, round satisfying way."
Third Coast Digest, January 31, 2010
"Wilkowske is a charming, energetic, vocally pleasing Figaro."
Shepherd Express, February 3, 2010
The Barber of Seville, Skylight Opera Theatre
"Andrew Wilkowske is a charming, easy-going Figaro. He sings with power and character, making the arias a natural extension of his comically conspiratorial character."
Milwaukee Journal Sentinel, September 30, 2009
"Wilkowske's ease with rapid-fire patter was only the beginning of his vocal charm. He made the singing sound easy, which it's not...Wilkowske's utter confidence as a singer conveyed Figaro's essence."
Third Coast Digest, September 19, 2009
"Andrew Wilkowske has a commanding and charming presence as Figaro."
Milwaukee Magazine, September 20 ,2009
"...Figaro, so aptly played by Andrew Wilkowske, is the star of the show....His baritone voice is very impressive."
Waukesha Freeman, September 24, 2009
Le Nozze di Figaro, Ashlawn Opera
"Andrew Wilkowske plays Figaro with robust forthright sincerity and infinite charm. His baritone voice is strong and flexible, and the energy he projects is delightful."
The News and Advance, July 30, 2009
Le Nozze di Figaro, Green Mountain Opera Festival
"Baritone Andrew Wilkowske was ideally cast as the warm-hearted, all-too-human Figaro...his execution was full of the ease and warmth that make this character so lovable."
Opera Canada, Fall 2009
"I was so delighted to hear Andrew Wilkowske, the Figaro...He is perhaps the most enchanting and real Figaro that I have ever encountered."
The Eagle, July 1, 2009
The Adventures of Pinocchio, Minnesota Opera
“The Minnesota Opera fielded a large and excellent cast for this story of a naughty wooden puppet's moral and social education, including baritone Andrew Wilkowske as Pinocchio's devoted father and creator, Geppetto.”
The Wall Street Journal, March 6, 2009
“As Pinocchio's father Geppetto, Andrew Wilkowske uses his lush baritone to project a warmth of sentiment befitting a protective parent.”
examiner.com, March 1, 2009
The Grapes of Wrath, Pittsburgh Opera
“...Wilkowske's clear baritone portrayed the naked pathos of this moment and revealed that Noah's character is not as one-dimensional as the family (or the audience) had assumed.”
American Record Guide, March/April 2009
La Traviata, Skylight Opera
“...the best scene paired Borg with baritone Andrew Wilkowske, as Germont. As he threatened, chastised and flattered her into giving up his son, his singing hurried, lingered and changed colors to reveal the proportions of sincerity and manipulation. ”
Milwaukee Journal Sentinel, February 2, 2008
The Magic Flute, Eugene Opera
“Andrew Wilkowske was a vocal and dramatic delight as the bird catcher, Papageno.”
Eugene Register-Guard, December 31, 2008
The Grapes of Wrath, Minnesota Opera
“…and baritone Andrew Wilkowske is moving as retarded son Noah, whose suicide by drowning is expanded from the novel to conclude Act Two.”
Opera Today, February 13, 2007
“Perhaps the most evocative sequence of the evening arrives at the end of the second act, when Noah (Andrew Wilkowske) drowns himself. Korie writes a heartbreaking lyric, and Wilkowske is lifted into the air behind a projection as he dies; in that moment, Meek steps into a spotlight to sing a final lullaby to her son. Dry eyes are in short supply.”
Variety, February 16, 2007
“As Meek [Ma Joad] is center stage, floating high above her is the adult Noah (achingly acted and sung by Andrew Wilkowske)...”
MusicWeb International, February 17, 2007
Hansel & Gretel, Skylight Opera Theatre
“Andrew Wilkowske brings a strong, warm, controlled sound to the role of the children’s father”
Milwaukee Journal Sentinel, September 23, 2006
Madama Butterfly, Los Angeles Opera
“…and Andrew Wilkowske as Prince Yamadori rounded out the extremely accomplished ensemble cast”
Opera Online, January 21, 2006
Excerpts from Die Zauberflöte, Milwaukee Symphony Orchestra
“The Whimsy comes with Papageno (Andrew Wilkowske, who commanded both the music and the stage…”
Milwaukee Journal Sentinel, November 4, 2006
Nixon in China, Minnesota Opera
“And Andrew Wilkowske, though he looked more like Al Franken than Henry Kissinger, got ample fun out of the work's only real comic character.”
Minneapolis Star Tribune, May 16, 2005
“…Andrew Wilkowske is vibrant as Henry Kissinger, the comic foil of the opera.”
Aisle Say Twin Cities, May 2005
Jacques Brel is Alive and Well and Living in Paris, North Star Opera
“Alas, on the ballads, only one performer truly taps into the interwoven idealism and cynicism that made Brel such an original: Andrew Wilkowske. The former Minnesota Opera resident artist delivers a chilling “Alone” and makes the sad farewell to love, “Fanette,” the most deeply moving song in the show. But his comfort level with the material even stands out in the faster full-cast numbers: While others work hard to sell the songs, Wilkowske’s strong voice and onstage ease prove far more magnetic.”
St. Paul Pioneer Press, December 18, 2004
Don Pasquale, Merola Opera Program
This year’s Merola participants are an uncommonly strong group of singing actors. Andrew Wilkowske was particularly impressive in the title role; the baritone is a resonant vocal presence, and he threw himself fully into the role of Don Pasquale, tracing the line of the character’s decline in indelible stage pictures. His Act 1 “Prender moglie!” was sung while doing a spry little dance step, clutching wads of cash and finally climbing atop his desk; by the end of Act 3, the character was visibly aged. Wilkowske made the old miser’s pathos, as well as his comic foibles, evident throughout.
Contra Costa Times, August 10, 2004
The Magic Flute, Virginia Opera
“Wilkowske’s garrulous yet endearing Papageno stole the show. Whether humming with a padlocked mouth or singing with mate Papagena, Wilkowske was comically charming.”
The Washington Post, November 25, 2003
“…Chief among the recruits was baritone Andrew Wilkowske as Papageno. The part is a gift for a lyric baritone, and Wilkowske showed a fine voice, and engaging stage presence.”
The Virginian-Pilot, November 9, 2003
The Merry Widow, Minnesota Opera
“…At the head of the line of standout performers were Matt Boehler and Andrew Wilkowske, as Njegus and Zeta, respectively. The two played off one another hilariously, and both sang with pleasing and hearty good humor.”
Opera News Online, February 2003