Boris Godunov
"A special category of excellence is reserved, as ever, for Andrea Velis, whose pathetically keening Simpleton becomes in a real historical sense the central figure in Mussorgsky's tale, as the symbol of Russia's brutal past and vision of an equally violent future."
— New York Times

Les Contes D'Hoffmann
"Andrea Velis showed his versatility by singing four roles - Andres, Cochenille, Pitichinaccio and Frantz. He has become to the Metropolitan Opera what Alessio DePaolis used to be - a tenor who can take any character role, especially comic ones, and make a big thing of it."
— New York Times

La Fille du Regiment
"One feels the season is truly under way when veteran Andrea Velis is using his quirky sense of timing to bring yet another comic character vividly to life. This is an invaluable member of the company, and the sort of expert artist that helps to carry off performances that often need stronger second singers than the Met sometimes gives us."
— The Star-Ledger

Curlew River
"Heading the list was Andrea Velis, who managed the obviously taxing part of the Madwoman superbly. His movement, expressive at all times, approached dance in its fluidity and grace."
— New York Times

Tosca
"Of the singers other than the prima donna, the outstanding Spoletta of Andrea Velis led the list. Never has a secondary singer made more out of a role than Velis did with Scarpia's first henchman."
— Dallas Times Herald

Wozzeck
"As usual, Andrea Velis made a contribution far transcending the size of his role as the grotesque Fool for whom the beergarden reeks of blood."
— High Fidelity/musical america

 

Curlew River
"Andrea Velis, who, unfortunately, is rarely heard locally except in character roles at the Metropolitan Opera, was the "Madwoman," a part written for a tenor. With his head enclosed in the wimple, typical of English women in the 14th century, he made a striking figure in maroon velvet, purple silk, and fantastic mask. His performance was even more striking. His singing disclosed a voice whose beauty is never given its due at the Met and his sensitive portrayal gave such dimension to the part, the figure seemed like a symbolic sorrowing Madonna of the universe."
— New York Post

Les Contes D'Hoffmann
"That master of supposedly minor parts, Andrea Velis, made each of his roles into something beyond the ordinary."
— New York Times

Manon Lescaut
"The one touch of brightness in acting during the evening was provided by Andrea Velis, who was the Ballet master."
— New York Times

Otello
"Andrea Velis sang flawlessly in the role he created for this production, that of Roderigo."
— New York Times

Tosca
"Andrea Velis, who has proven a highly valuable addition to the Met's comprimario wing this season, made a magnificently spidery little yes-man of Spoleta - his first at the house."
— New York Herald Tribune