“Alternating between the support role of Belinda… and various smaller parts as well as chorus, Andréa Walker was everywhere but deserves the highest possible praise for so completely throwing herself into the parts – each felt like a separate entity. Try as I might, I could never catch her merely acting. She became each part and brought vocal warmth and grace to Belinda, yet she could absolutely snarl as one of the witches. Walker is a force to be reckoned with.”
-Mark S Jordan (Seen and Heard International)
2025 Dido and Aeneas with Apollo’s Fire
Soprano Andréa Walker’s “I know that my Redeemer liveth” unspooled like a luminous ribbon, climaxing in the last line “the first fruits of them that sleep,” with the word “fruits” floating high and ethereal and getting that little extra push from a well-judged ornament.
-Andrew Lindemann Malone (Washington Classical Review)
2024 Messiah with The Thirteen
“…Andréa Walker, with her fresh and pure soprano, was sheer delight personified.”
-John von Rhein (Chicago Classical Review)
2025 Dido and Aeneas with Apollo’s Fire
“Soprano Andréa Walker was a bright-voiced Belinda, her tone and sincerity ringing in the hall…”
-Kevin McLaughlin (Clevelandclassical.com)
2025 Dido and Aeneas with Apollo’s Fire
“The evening’s most unexpected highlight came from Andréa Walker as Damon… whose Act II aria, “Consider, poor shepherd,” unfolded with striking beauty. Walker’s singing was agile, plaintive, and finely detailed—not emotionally oversized, but shaped with a bel canto-like emphasis on line and color. It felt like a sudden expansion within the work, a moment when the music seemed to momentarily glow from within. That it came from a supporting role only heightened its impact.”
-Andrew Alexander (EarRelevant)
2025 Acis and Galatea with Atlanta Baroque Orchestra
