“The best and biggest voice on the stage belongs to Christian Van Horn as Timur (also making his Dallas Opera debut), whose rich bass has just the right amount of ring and not a hint of the woofishness that haunts other low voices. There isn’t much acting in this role until we get to the death of Liù. Here, Van Horn produced the most touching moments in the entire production. Many daubed their eyes when the scene expired to its practically inaudible end.”

-Gregory Sullivan Isaacs, Theatre Jones

“Christian Van Horn gave the night's strongest vocal performance. His rich bass was warm, broad and strong enough to carry above the over-bearing orchestra.”

-Katie Womack, Dallas Observer

“Christian Van Horn as Timur, Calaf’s father, makes his Dallas Opera debut and he impresses immensely. He is saddled with heavy make-up and very long hair and beard covering much of his face, yet he is able to fully express a range of emotions that makes his father’s anguish palpable. Vocally he commands.”

-Mark-Brian Sonna, Pegasus News

“Christian Van Horn as Timur (Calaf’s father), played a major role in getting the incredible momentum rolling in the final act. His dark, rich bass seemed to echo throughout the hall as he warned of the angered gods after the death of Liù — a warning that sparked the other characters and chorus into an electric final act marked by a standing ovation as the curtain fell.”

-David Weuste, Everydayopera.com

“Christian Van Horn, as Timur, impressed all over again with his rich and resonant bass voice.

-Gregory Sullivan Isaacs, Theatre Jones

“Voix profonde et nocturne, la Banco de Christian Van Horn oppose une superbe vocale partagée par le ténor héroïque d’Andrea Carè, tous deux nouveaux venus sur la scène genevoise où on espère les retrouver bientôt.”

“Profound voice and dark, the Banco of Christian Van Horn - a superb voice shared by the heroic tenor Andrea Care, both newcomers to the scene Geneva where we hope to find them soon.”

— Sylvie Bonier, Tribune de Geneve

“A leurs côtés, la beauté de la voix de basse de Christian van Horn (Banco) offre un véritable baume de bonheur vocal.”

“Alongside them, the beauty of the bass voice of Christian van Horn (Banco) offers a true balm of vocal happiness.”

—  Jacques Schmitt, ResMusica

“Les graves du baryton basse Christian Van Horn expriment sans faillir la noblesse de Banco…”

“The bass of the bass baritone Christian Van Horn unfailingly expresses the nobility of Banco…”

— Caroline Alexander, Webthea

“Le baryton basse Christian Van Horn envoûte en Banco (beau timbre d’ébène)…”

“Bass-baritone Christian Van Horn mesmerizes as Banco (beautiful dark timbre)”

— Julian Sykes, Le Temps 2012

“...bass Christian Van Horn contributed some of the most beautiful singing of the evening.”

Mark Thomas Ketterson, Opera News December 2011

“Christian Van Horn was outstanding as the meddling Raimondo, wielding his sonorous, rock-solid bass-baritone to particular advantage in the often-omitted cavatina where the chaplain assures Lucia that God will bless her for saving her family from disaster.”

John von Rhein, Chicago Tribune

“Christian van Horn was outstanding vocally and dramatically as Raimondo.”

Sarah Bryan Miller, St Louis Post Dispatch

“In the role of Crespel bass-baritone Christian Van Horn made a strong impression as Antonia’s protective father. As he implored his weakened child to sing no longer, even the simple phrase “Je t’en prie” [“I beg of you”] was infused by Mr. Van Horn with memorable resonance.”

Salvatore Calomino, OperaToday.com

“The breakout performance here was from another Lyric alum, bass-baritone Christian Van Horn, as the meddling tutor Raimondo, who probably thinks that he’s truly helping Lucia. With both the restored Act 2 aria and especially later with the chilling “Dalle stanze ove Lucia,” announcing to the wedding party Lucia’s murder of the man she was forced to marry, Van Horn made good on the promise he showed during his Ryan years.”

Andrew Patner, Chicago Sun Times

“As the conflicted minister Raimondo, Christian Van Horn provided his usual vocal excellence...”

Lawrence A. Johnson, The Classical Review

“It was luxury casting to have the big-voiced bass-baritone Christian Van Horn as Antonia’s father, Crespel.”

Lawrence A. Johnson, Chicago Classical Review

“We don’t hear too much from Colline the philosopher until the final act, when Christian Van Horn’s startlingly sonorous bass-baritone laments the imminent loss of his old greatcoat (Vecchia zimara, senti). More from this singer, please.”

D.S Crafts, Albuquerque Journal

“Numbered also among the revelations was the robust, rich Colline of Christian Van Horn. With each performance of this opera, Colline's Act IV coat aria, Vecchia zimarra, is becoming my favorite moment in the score, and Van Horn's stalwart tone and powerful low notes certainly continued that trend. In fact, Van Horn was squandered a bit in this opera, when he could have been cast as Méphistophélès in Faust.”

Charles T. Downey, IONARTS.BLOGSPOT.COM  2011

“...Christian Van Horn's stentorian Colline...”

Rodney Punt, The Huffington Post 2011

“...seconded by the plangent Colline of Christian Van Horn.”

Charles Downey, The Washington Post 2011

“As the most august of Poppea's many suitors, bass-baritone Christian Van Horn was perfectly cast as Claudio, the rightful but misguided ruler. In addition to his outstanding vocal skills, he possessed a remarkable instinct for physical comedy. His "seduction" of Poppea was hilarious: if Monty Python's Ministry of Silly Walks ever gave lessons in the art of seduction, the result would probably have looked something like this.”

KALEN RATZLAFF, Opera News June 2011

“Equally fine was the Timur of Christian Van Horn, whose bass-baritone was consistently firm and focused.”

Mark Mandel, OperaNews

“There are few more juicy roles in opera than the Devil, and bass-baritone Christian Van Horn relished every bit of it. His rousing delivery of "Le veau d'or" ("The Golden Calf") at the beer hall and his leering "Catherine, que j'adore" ("Catherina, I implore you") were wonderfully villainous. His sadistic hectoring of Marguerite, "Souviens-toi du passé quand, sous l'aile des anges" ("Think again of the days when you came to the altar"), revealed the full depth of the Devil's evil. His lower range was resonant and perfectly supported.”

William Thomas Walker, cvnc.org

“Christian Van Horn's darker, smoother baritone added sophisticated bite to Méphistophélès, his devilish expressions and body language never overdone.”

Roy C. Dicks, Newsobserver.com

“Méphistophélès, played by Christian Van Horn, is amazing to see and hear.  Funny and evil, charismatic, he’s perfect.  And it’s not all the muggy weather that will make your hair stand on end.”

chariotcreative.com

“Christian Van Horn as Claudio’s rich baritone Claudio rang through the room”

Boston Theater Review

“Big-toned bass-baritone Christian Van Horn makes Claudio (Claudius) a kind of predecessor of Mozart's Count Almaviva in The Marriage of Figaro, a sex addict on the make who ends up tricked by everyone he thinks he has power over.”

LOYD SCHWARTZ,  The Boston Phoenix

“Christian van Horn made a delightfully pompous emperor, and his rich, secure instrument was most impressive.”

Ed Tapper,  Edge Review Boston 2011

“But then I can't forget baritone Christian Van Horn's horny Claudius - another amazing match between a voice to die for and bedroom moves that leave you in stitches.”

Thomas Garvey,  The Hub Review 2011

“bass-baritone hottie Christian van Horn made a sexy Claudio.”

neild.livejournal.com 2011

“As the emperor Claudius (Claudio), bass-baritone Christian Van Horn had a commanding voice and presence and made a delicious contrast between imperial majesty and comically thwarted Casanova.”

Geoffrey Wieting, classical-scene.com

”Christian Van Horn was a vibrant Claudio, by turns a chest-baring lothario and moralizing sovereign.”

Jeremy Eichler, Boston Globe

“Christian Van Horn’s powerful bass voice added to the role of Timur, the exiled king of Tartary.”

James Bash, Oregon Music News 2011

“As the King, American bass-baritone Christian Van Horn was rock-solid, imposing, just right.”

Richard Sheinin, Mercury News September 2010

“...it was luxury casting to have the superb Christian Van Horn as a dignified King of Egypt.”

Lawrence A. Johnson, The Classical Review September3 2010

“...bass-baritone Christian Van Horn is solid as oak, but supple and capable of sad, tipsy humor.”

Richard Sheinin, Mercury News September 2010

BAYERISCHE STAATSOPER AIDA REVIEW

“Christian Van Horn was simply flawless as the King...”

OperaChic, OperaChic.typepad.com June 6, 2009

“...and Christian Van Horn a particularly strong King. “

JEFFREY A. LEIPSIC, OPERANEWS, August 2009

ANNA KARENINA ON SIGNUM CLASSICS -  REVIEW

“As Anna's conservative husband, Karenin, Christian Van Horn dominated the production with ringing vocalism, superb diction and emotional verity. The purely audio version of his performance is striking as well, especially in Karenin's first realization that his wife is pulling away emotionally ("How strange she is tonight") and in the great monologue, "Without love — without heart." Here, as onstage, Van Horn's sympathetic performance seriously skews the love triangle — an imbalance magnified, in spite of committed singing from Robert Gierlach, by the libretto's relative neglect of Anna's lover, Count Vronsky.”

JUDITH MALAFRONTE, OPERANEWS JANUARY 2010

“Christian Van Horn, possessed of a dark-hued voice with a steel core, allows us to see both the obdurate and the vulnerable in Karenin, her husband. His aria, “How strange she is tonight,” inspires the one (forbidden) applause interruption from an otherwise well-behaved audience.”

RONALD E. GRAMES, FANFARE 2009

“...bass-baritone Christian Van Horn’s surprisingly appealing Karenin.”

Sarah Bryan Miller, St Louis Post-Dispatch, August 2009

LYRIC OPERA OF CHICAGO PEARL FISHERS REVIEWS

“Christian van Horn is always a welcome presence; Nourabad has little to do, though the talented young bass-baritone did his sonorous best with what is there.”

Mark Thomas Ketterson, Opera News, January 2009

“Christian Van Horn sings imposingly and is able to inject a truly credible spirit of authority into his rich and flexible bass baritone.”

Salvatore Calomino, Opera Today

“Bass Baritone Christian Van Horn was a sternly sonorous Nourbad.”

John von Rhein, Chicago Tribune

“...bass-baritone Christian Van Horn, was a solid, quick-to-anger priest Nourabad.”

Andrew Patner, Chicago Sun Times

“...along with a powerful portrayal of the high preist by Van Horn.”

Bill Gowen, Daily Herald

FORT WORTH OPERA TURANDOT REVIEWS

“As Timur, Christian Van Horn used his booming bass voice to tender effect in his farewell aria.”

William V. Madison,  Opera News

"Christian Van Horn, a young, luxurious-sounding bass baritone..."
Leonard Eureka, Fort Worth Weekly

"Christian Van Horn's huge baritone..."
Scott Cantrell, Dallas Morning News

"Christian Van Horn brought nobility to the blind Timur."
Chris Shull, Star-Telegram

VIRGINIA OPERA LUCIA DI LAMMERMOOR REVIEWS

"Christian Van Horn's stentorian Bass-baritone made him a strong Raimondo..."
Mark Estren, Washington Post

"...and bass-baritone Christian Van Horn, as Raimondo, a family advisor, who was vocally spectacular. His voice resonated with quality- an absolutely first class voice that should be heard on major stages."
John Shulson, The Virginia Gazette

"...bass-baritone Christian Van Horn, he touched the hearts of the audience. His words, expressed in clear recitative and smooth melodies, were sung with appropriate reserve and gravity but also with caring warmth."
-Lee Tepley, The Virginian-Pilot

"Bass baritone Christian Van Horn was probably the finest voice during this opera with huge sounds that were perfectly clipped when demanded yet full of legato in more emotional scenes."
-Bob Anthony, www.allarts4u.com

"Another stand-out was bass-baritone Christian Van Horn as Lucia's tutor and spiritual counsel, Raimondo; his warm, commanding tone and tall stature gave an air of calm and reason..."
-B.J. Atkinson, Port Folio Weekly

L.A. OPERA LA BOHEME REVIEWS

"Christian Van Horn sang Colline's farewell to his coat with power and dignity."
-Chris Pasles, LA Times

"Christian Van Horn supplied a solid bass and played his strongest card as a cackling Méphistophélès in the serenade from "Faust.""
-Timothy Mangan, Orange County Register

                               

                                2007

SANTA FE OPERA "TEA: A MIRROR OF SOUL" REVIEWS

"The towering bass-baritone Christian Van Horn exercised vocal authority as the Emperor..."
-Simon Williams, Opera News

"Haijing Fu a warmly sonorous Seikyo, Roger Honeywell a clarion Prince. Christian Van Horn is aptly imposing as the Emperor"
-Scott Cantrell, Dallas Morning News

"Christian van Horn brought a smooth, well rounded bass to the Emperor. "
-George Loonis, MusicalAmerica.com

"Christian Van Horn’s powerful bass-baritone brought the Emperor to dignified life."
-Craig Smith, Santa Fe New Mexican

FLORIDA GRAND OPERA ANNA KARENINA REVIEWS

"Christian Van Horn’s booming bass-baritone brought chilly gravitas and credibility to Karenin."
-Vivien Schweitzer, New York Times

"Christian Van Horn's serious, deeply-felt portrayal, combined with top-notch singing, left the audience wondering why Anna would abandon him."
-Judith Malafronte, Opera News

"One wondered how Anna could possibly have thrown over her husband Karenin (Christian Van Horn, powerful in his singing and acting) for such a wimp."
-John von Rhein, Chicago Tribune

"It had a strong cast, headed by soprano Kelly Kaduce in the title role, and brought bass-baritone Christian Van Horn, as Karenin, into a well-deserved spotlight. "
-Sarah Bryan Miller, St. Louis Post-Dispatch

"Christian Van Horn is the very personification of Karenin's chilly decency."
-Scott Cantrell, Dallas Morning Star

"Christian van Horn's Karenin produces a wide sound that does to ears what dark chocolate does to palates."
-Brandon K. Thorp, Broward-Palm Beach New Times

"Christian Van Horn was an imperious, cold presence as Alexei, Anna's politically ambitious husband. His mellow bass-baritone had a molten-lava glow."
-Lawrence Budmen, Sun-Setinel

"Equally impressive is bass-baritone Christian Van Horn as Karenin. Graham and Carlson have given the character some intensely moving scenes, and Van Horn makes the most of them. The opening night audience apparently agreed, judging from the response to his curtain call."
-Chuck Lavazzi, KDHX.org

"As Karenin, bass-baritone Christian Van Horn draws a superb portrait of the cold, wounded husband. "
-Sarah Bryan Miller, St. Louis Post Dispatch

"Christian Van Horn achieves a remarkable portrayal of Karenin, fitting into the character as though it were a suit perfectly tailored for him. It must be recognized that his depiction is one of the best portrayals in the entire performance, in both a dramatic and musical sense, and he is charged with what appears closest to an aria in the score."
-Daniel Fernandez, El Nuevo Herald

"...bass-baritone Christian Van Horn's sterling singing buoyed up on a long crescendo in the orchestra."
-John Fleming, St. Petersburg Times

"As her pompous, long-suffering husband, Christian Van Horn invested Karenin with a worthy dignity and a commanding bass-baritone."
-Lawrence A. Johnson, Miami Herald

                       2006

“...Christian Van Horn (who sounded especially at home in Rachmaninoff's "Aleko"). ”
-Laura Emerick , Chicago Sun-Times

“Van Horn, a bass, also has acting skills. He performed Mozart’s “Madamina, il catalogo e questo” from “Don Giovanni” with energy and wit.”
-David Ritchey , www.akron.com

Baltimore Opera La Boheme Reviews

“Indeed, Christain Van Horn’s beautiful aria about selling his prized coat for medicine was handled wonderfully and with clear passion. ”
-Joseph Gianino, OperaOnline.us

“Bass Christian Van Horn's rich rendition of "Vecchia zimarra" was among the production's finest arias”
-Grace Jean, Washington Post

“Christian Van Horn was an engaging Colline and sang the "coat aria" in a nicely unfussy fashion...”
-Tim Smith, Baltimore Sun

Chicago Lyric Opera Der Rosenkavalier Reviews

“Bruce Sledge (Italian Singer) and Christian Van Horn (Police Commissioner) were particularly notable, dramatically and vocally.”
-Sarah Bryan-Miller, Musical America

Chicago Lyric Opera Carmen Reviews

"The Guiraud recitatives, rarely so effective as the original dialogue, at least allowed one to hear more of Christian Van Horn's sonorous bass-baritone as Zuniga."
-Mark Thomas Ketterson, Opera News

"...Christian Van Horn's swaggering Zuniga."
-John von Rhein, Chicago Tribune

"...two exceptionally strong basses in Christian Van Horn (Zuniga) and Quinn Kelsey (Morales)..."
-John von Rhein, Chicago Tribune

"...Christian Van Horn's acid-tongued Zuniga."
-Wynne Delacoma, Chicago Sun Times

"New York-born Christian Van Horn used a commanding voice and his impressive height to accentuate the crucial, but often overlooked, role of Lt. Zuniga"
-F.N. D'Alessio, Associated Press

Chicago Symphony Orchestra Reviews

"Soprano Cabell and bass-baritone Van Horn, a last-minute subsitute, were particularly strong."
-Andrew Patner, Chicago Sun Times

"The players and chorus were fully engaged in the effort; two of the vocal soloists -- soprano Nicole Cabell and bass-baritone Christian Van Horn, standing in at the last minute...beautifully, atmospherically contributed to it."
-Alan G. Artner, Chicago Tribune

Chicago Opera Theater Le nozze di Figaro Reviews

"Christian Van Horn’s smoothly produced bass-baritone and handsome presence made for a sympathetic Figaro and earned him an enthusiastic ovation following a spirited “Aprite”."
-MARK THOMAS KETTERSON, OPERA NEWS

"Bass-baritone Van Horn...made a strong but never overplayed Figaro, handsomely sung.."
-John von Rhein, Chicago Tribune

"..Christian Van Horn's virile young Figaro "
-Wynne Delacoma, Chicago Sun Times

"I enjoyed the bass-baritone of Christian Van Horn, as Figaro. Van Horn was powerful with his voice, filled with rich melody."
-Ed Vincent, Oak Park Journal

"Christian Van Horn makes a vigorous Figaro..."
-Gale Kappe, Chicago Magazine

"...and Christian Van Horn brought a flexible, passionate bass-baritone to Rachmaninov's "Aleko.""
-Wynne Delacoma, Chicago Sun Times

CHICAGO LYRIC OPERA AIDA REVIEWS

"...bass baritone Christian Van Horn as the King of Egypt revealed a flexible resonant sonority which projected well over the fullness of a Verdi orchestra..."
-Barbara Wright Pryor, The Chicago Crusader

"...and Christian Van Horn, making a nice debut as the King."
-Mark Thomas Ketterson, OPERA NEWS

"One of the great pleasures of the OTSL season is spotting gold within the young artist ranks. Bass Christian Van Horn was an Angelotti of genuine dramatic urgency and warm, handsome tone..."
-F. Paul Driscoll, OPERANEWS