Vocalist - Bass
Rigoletto – Michigan Opera Theatre

"Christian Zaremba was ideally cast as the assassin Sparafucile, emerging from the shadows with his seething bass-baritone to bring Rigoletto’s vendetta to fruition."

Jennifer Goltz, Opera News
The Met's New TOSCA

"Christian Zaremba showed a firm bass in his company debut..."

Eric C. Simpson, New York Classical Review
The Met's New TOSCA

" ... there was some fine singing from bass Christian Zaremba as Angelotti ..."

Richard Sasanow, Broadway World
La Bohème - Portland Opera

"Christian Zaremba’s Colline was well sung and much more positive than dour."

Mark Mandel, Opera News
Au Revoir, Figaro, 'Guilty' as Charged from On Site Opera

"Rounding out the cast was bass Christian Zaremba in a nice turn as Fal, the notary."

Richard Sasanow, Broadway World Review
La Bohème - Portland Opera

"Bass Christian Zaremba, a veteran performer in his first Portland Opera stage role, is funny and acts well as the philosopher, and his voice nicely mixes with the other bohemians."

Terry Ross, Oregon Artswatch
La Bohème - Opera Omaha

"American bass Christian Zaremba gave a strong performance as Colline."

Kevin Hanrahan, Opera News
L'Opera Seria – Wolf Trap Opera

"Threatening to walk off with the whole thing was Christian Zaremba, a resonant bass who, decked out in leg warmers and accessorized by a cigarette that permanently dangled from his lower lip, took the role of the dancing master Passagallo and ran with it, generating some of the heartiest laughs of this irresistible performance."

Tim Smith, Opera News
L'Opera Seria - Wolf Trap Opera

"Stealing the evening, though, was Christian Zaremba as Passagallo, the dancing master. Zaremba already stood out this summer, vocally and dramatically, as Collatinus, the husband in the stark, tragic 'The Rape of Lucretia.' For 'L’Opera Seria,' he donned bandanna, sweats, legwarmers and a dancer’s floating gait, and, dragging nervously on a cigarette, fussed over every detail of the performance and came up with artistic 'inspirations,' deciding, at one juncture, that the aria of the pretty young soubrette Porporina (Amy Owens) would be best accompanied by a pair of dolphins thrusting from the midsections of two onstage extras while Owens clutched a brace of fish. Zaremba has the comedian’s gift of playing his role absolutely seriously, and he sings well to boot. I found myself wishing Wolf Trap would make Passagallo a recurring character, like Borat, appearing on the sidelines of every future opera performance with earnest suggestions and an occasional pirouette."

Anne Midgette, Washington Post
Don Giovanni – Venture Opera

"He sang magnificently and his youthful energy never strained the credibility of the scene."

Glen Roven, Huffington Post
A ‘Marriage of Figaro’ weds energy and delicacy, slapstick and pathos

"Christian Zaremba as old Bartolo [was] stylistically excellent."

Joan Reinthaler, Washington Post
Plenty of gold in Puccini's Old West opera

“Bass Christian Zaremba is impressive as the determined Wells Fargo agent Ashby.”

Jay Furst, Minneapolis Post Bulletin
The Magic Flute - Minnesota Opera

“Christian Zaremba met the challenging vocal demands of [his] respective arias ... ”

William Fietzer, Examiner
An Opera Reimagined and Infused With Youth

“Christian Zaremba, a stage animal with a big bass voice, as Pistola.”

Anthony Tommasini, New York Times
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