top of page


New Years concert
Teatro Maestranza | Seville, Spain 2024

Mein Herr Marquis, defended by the young Bryndís Gudjónsdóttir with commendable grace and self-confidence  so appropriate to embody the servant Adele. [...]
A brilliant voice, with sincere and fluid phrasing and bright and generous high notes, characterized her voice, which also triumphed in Rosalinde's aria, the famous czardas of the second act of the same Straussian title, Klänge der Heimat, with which she wants to convince the concurrence
that she is a Hungarian countess, in another of the feigned
characterizations of this absolute mess comedy. Her broad voice and magnificent profile, equally pleasant timbre, captivated the audience.
[...] The fun song Glitter and Be Gay from the opera Candide by Leonard Bernstein, served once again, as a tip, to praise the comedic vision of Bryndís Gudjónsdóttir, who excelled in her intricate agility and sophisticated vocalizations.

Juan José Roldán - El Correo 04.01.23


New Years concert
 Teatro Maestranza | Seville, Spain 2024

Performed  by Gudjonsdottir Mein Herr Marquis of the same operetta: self-confidence in her phrasing, accents full of mischief, added to the brilliance of her register and has plenty of volume. [...]  Klänge der Heimat  were compensated by her brilliant coloraturas.
Something that he had the opportunity to endorse with Glitter and be gay from Leonard Bernstein's opera Candide given as a tip, with  brilliant vocalizations.

Diario de Seville - Andrés Moreno Mengíbar


Beethoven 9 Symphony
Wunderino Arena | Kiel, Germany 2024

But Carlberg doesn't allow for anything dignified when celebrating, but drives the collective into a violently radiant euphoria with constantly powerful, driving tempos. The Icelandic soprano Bryndis Guðjónsdóttir outshines this with admirable incandescence.

Christian Strehk - Kieler Nachrichten  03.01.24


Ad Genua by Anna Thorvaldsdóttir,
Hallgrímskirkja | Iceland 2023

[...] sounded at the concert accompanied by Iceland Symphony Orchestra string ensemble, soprano Bryndís Guðjónsdóttir and the Hallgrímskirkja Choir.  Such  beauty!
A rare experience: Bryndís's voice, both warm and powerful, echoed in the church in perfect harmony with the well-singing choir and her voice rhymed beautifully with the sound of the choir, clear and bright.


Arndís Björg Ásgeirsdóttir - Heimildin 13.10.23

DSC00239FVI2023_Gli Uccellatori_ClarissaLapollaph (1).jpg

Gli Uccellatori
Teatro Verdi | Martina Franca, Italy 2023

Among all, Bryndis Gudjónsdóttir (The Countess Armelinda) undoubtedly stands out, a dazzling Icelandic soprano, who amazes the audience with a balanced, smooth, though brilliant timbre and high notes like fireworks. She was definitely the star of the production and we will surely hear a lot about her.

Attilio Cantore - Musicpaper  08.08.23


Wunderino Arena | Kiel, Germany 2023

The Icelandic soprano Bryndis Gudjonsdottir brilliantly fired coloratura and flares into the artificially created auditorium - not only in the famous fireworks of "Glitter And Be Gay". Her Cunegonde was both a notoriously amoral leading figure and a sympathetic heart figure.

Christian Strehk - Kieler Nachrichten  - 18.06.23


Espacio Turina | Seville, Spain 2023

Icelandic soprano Bryndís Gudjónsdóttir reaffirmed the arguments that won her the first prize of the competition last November. We are dealing with a light lyric soprano possessing an unusually wide and powerful voice for her voice type, where it is normal to have voices with a narrow range. However, in the case of the Icelander, her ease in moving securely in the upper register (the shining Mi and Fa that crowned O Zittre nicht) and displaying cascades of coloratura, combined with a voice of ample volume and width in the middle, is remarkable. Purely technical issues are perfectly resolved: clear emission, precise articulation, perfect projection without any throat or nasal adherence, impeccable intonation, with clean and correct interval jumps. This was demonstrated in the most pyrotechnic pieces, such as in the aria of Mitridate or the well-known passage of Candide. Another matter is the more expressive singing, the attention to legato, the careful phrasing based on regulators, issues that only appeared somewhat in the Icelandic songs, which are more introspective.

Andrés Moreno Mengíbar from Diario de Seville


Espacio Turina | Seville, Spain 2023

 Guðjónsdóttir guided it [O Zittre nicht] with total confidence, as if it were nothing; but in the middle, she had also given, to start, an extensive coloratura. Her high notes reverberated in the hollow and -for her- small acoustics of the Turina.
[...] The recital contained only eight numbers, almost all of them "life or death". The second one is from a rarely programmed Mozart opera, 'Mitridate, re di Ponto', and the aria 'Al destin, che la minaccia', also because, as we said above, it includes a terrible high E, prepared to make a recital sink. The Icelander sang it again without difficulty, with fullness and it even seemed to us that, in a brighter way, with less dryness (the hall is already dry, and even more so for that volume of high notes).
The Russian song 'Solovey' by Aleksandr Alyabyev, composed around 1825, was unknown. Being called 'nightingale' and with a range like Guðjónsdóttir's, we can imagine the succession of unreachable notes it presented, ending in a tremendous D.
[...]In this lyrical field, three Icelandic songs by unknown authors undoubtedly stood out, which brought out a full balance of the voice in her, rounding out the register, sweetening her color, and making us feel her full identification with this music. 
Finally, she decided to close with the most well-known, lively and light piece from Bernstein's 'Candide', a "Valentine's Day card", as the composer called it, where she particularly stood out for her more relaxed interpretation, as if she had stepped out of the concert screen to sing to family and friends. Naturally, this ode to luxury and jewels, parodying the aria of the jewels from Gounod's 'Faust', had to end with a genuine pearl necklace like the three impossible E flat notes that the Icelandic soprano strung together with the precision of a Tiffany jeweler.

Carlos Tarín, ABC de Seville


Salurinn Concerthall | Kópavogur, Iceland 2022

Soprano Bryndís Guðjónsdóttir started the concert with the Icelandic lieders, Kall sat undir Kletti  by Jórunna Viðar, then she sang Fuglinn í fjörunni by Jón Þórarinsson and then Farfuglarnir by Elísabet Jónsdóttir.
Her interpretation was breathtaking, full of emotion, and the voice itself was bright and melodious, but at the same time very euphonious. The same thing can be said about o
ther songs she sang later in the program.

Jónas Sen, Fréttablaðið, Icelandic newspaper

fyrir reviews.jpeg

Die Zauberflöte
 Reaktorhalle | München, Germany, 2021

 [...] you have to watch out for the Cristal High notes of the Icelandic Ice-Queen Bryndís Guðjónsdóttir and her three ladies on the Hoverboard.

Klaus Kalchschmid, Süddeutsche Zeitung, München

Die Zauberflöte - Königin der Nacht.JPG

Die Zauberflöte
Delphi Theater | Berlin, Germany, 2019

Their voices are magnificent, the Queen of the night almost blew the audience out of their chairs. 

Nicole Haarhoff

bottom of page