Eric Cutler Selected Reviews

DVD: Title role in Offenbach Les Contes d’Hoffmann, Teatro Real de Madrid (September 2015)

“Hoffmann, played by the American Eric Cutler, argues a skilfully conducted voice and impeccable musical reading.”- Res Musica

Don José in Bizet Carmen, English National Opera, cond. Sir Richard Armstrong, dir. Calixto Bieito (June 2015)

“Eric Cutler begins Don José’s Flower Song with affecting tenderness but delivers passion aplenty as the emotional temperature rises.” - Evening Standard

“Eric Cutler’s Don José is musically and theatrically an even more impressive achievement. He moves more convincingly than many Josés from mummy’s boy to violent abuser, and he has the measure of the role’s many vocal challenges, too, passing the test of his act-two aria in style.” - Guardian

“The American tenor has all the notes and plenty of passion… his Flower Song has plangency and emotional depth and his jealous rage at Escamillo bristles with animosity.” - Whats on Stage

“Tenor Eric Cutler conveys Don Jose’s inner violence from the start, ending in the raw fury of his knifing of Carmen, after first kicking her handbag into touch.” - Daily Express

“This time we have a José of impeccable tenorial style in Eric Cutler… singing the much-debated top B flat in the Flower Song very quietly in head voice, as the score asks, and letting rip in the anguish of the last two acts, but with a finesse that should make his forthcoming Florestan and Lohengrin worth hearing.” - Arts Desk

“Eric Cutler ensured that Don José is no mummy's boy, quickly revealing his pathological nature in his initial duet with Micaëla. The American tenor, making his ENO debut, has an attractive timbre, without being overly bright at the top. Credit to him for an excellently delivered Flower Song, sensitively observing Bizet’s dynamic markings.” - Bachtrack

“As José, the American tenor Eric Cutler has a commanding lyric voice, which he used with considerable accomplishment. His ‘Flower Song’ raised the emotional temperature and level of intimacy in Act Two… his singing was a fine expression of José’s mania and misery.” - Classical Source

Apollo Daphne, La Monnaie (September 2014)

“Eric Cutler offered an impressive, ruggedly heroic vocal portrayal of Apollo, clearly conceived to appeal to this Daphne as a handsome outdoorsy type.” - Opera

“Eric Cutler’s muscular Apollo shows him successfully graduating to Heldentenor status” - Financial Times

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“The American tenor Eric Cutler stood out of the soloists for his phenomenal portrayal of the role of Apollo.” - Place de l’Opera

Title role Tales of Hoffmann, Teatro Real, cond. Sylvain Cambreling dir. Christoph Marthaler (May 2014)

“The title role fell to the American tenor Eric Cutler…His voice flowed smoothly…his high notes sounded clean and bright… His voice has a nice ring, always warmly phrased with intention.” - Mundo Clasico

“Hoffmann, the poet, Eric Cutler sings with physical presence and a supple tenor sound. He sweeps like a whirlwind into the classrooms of academic drawing and shakes the cage of the society of knowledge.” -Deutschlandfunk

Adolar in von Weber Euryanthe, Oper Frankfurt, cond. Roland Kluttig, dir. Johannes Erath (April 2014)

“Eric Cutler, a fearless, lyrical Adolar." - Opera

“Eric Cutler is righteous as Adolar with his strong tenor voice” - Echo

Italian Tenor Der Rosenkavalier, Metropolitan Opera, cond. Edward Gardner, dir. Robin Guarino (November 2013)

"What a treat it was to have the noted tenor Eric Cutler in the small but vivid role of the Italian tenor… His robust reading provoked one of the rare outbursts of spontaneous applause the part has received since Luciano Pavarotti sang it long ago." - New York Classical Review

“Eric Cutler, an American, made a fine Italian Tenor. He had just the right dose of stereotype in him…He suggested a stereotypical Italian tenor while still singing beautifully and seriously.” - New Criterion

CD: Eric Le Vaisseau fantôme, Georg Der Fliegende Holländer, Les Musiciens du Louvre Grenoble, cond. Marc Minkowski (October 2013)

“Cutler’s high, flexible, French-sounding tenor also sounds more comfortable at the top of his role than heftier Heldentenors.” - International Record Review

“Eric Cutler’s Georg provides tenorial grace.” - Francis Muzzu, Opera Now

“Particularly persuasive is the wonderful Eric Cutler as Eric, who gets noticeably better from one year to the next.” - Matthias Käther, Kulturradio

“Eric Cutler is an extremely passionate (Heart-) Hunter.” - Kultiversum

Nadir The Pearl Fishers, Santa Fe Opera, cond. Emmanuel Villaume, dir. Lee Blakeley (August 2012)

“As for Eric Cutler’s Nadir, it was French style that one admired... Flexibility is one of its key assets and was used to fine effect in shading the famous romance ‘Je crois entendre encore’”. - Opera

“Nadir, a traveler from foreign climes, became, in the hands of Eric Cutler, a hero alienated from his homeland by his love for Leïla. He sang "Je crois entendre encore" with supreme elegance, moving smoothly from middle range to falsetto without a hint of break within the voice”. - Opera News

“But for sheer beauty of sound and line, and impeccable French vocal style, nothing can match Cutler's singing of Nadir's melting artia, "Je crois entendre encore," which takes the evening's vocal honors.” - Chicago Tribune “Eric Cutler's focused, ringing tenor and blazing high notes made for an exciting Nadir...” - Wall Street Journal

Leicester Maria Stuarda, Houston Grand Opera (April 2012)

“Eric Cutler is stylish and ardent as Leicester, the cooked-up object of both queens’ love” - Financial Times

“Eric Cutler brings a warm, secure… tenor to Leicester, warm with Mary and properly wary with Elizabeth” - Houston Chronicle

Liszt A Faust Symphony, Chicago Symphony Orchestra, cond. Riccardo Muti, dir. Duain Wolfe (October 2011)

“Muti had the splendid male voices of the Chicago Symphony Chorus and the mellifluous tenor of Eric Cutler to sing of earthly transcendence, a magnificent effect.” - Chicago Tribune

Raoul Les Huguenots, La Monnaie, Brussels, cond. Marc Minkowski (June 2011)

“The tenor Eric Cutler brings a winning combination of full- and head-voiced singing to the challenging role of Raoul. Soon after he sang his heart out in the fourth-act duet with Valentine — the most popular love duet of the 19th century — he shined again in Raoul’s taxing aria in Act 5.” - New York Times

“Eric Cutler’s outstanding Raoul de Nangis is heroic yet supple...” - Financial Times

“Eric Cutler makes light of all the traps present in the role of Raoul de Nangis...” - Diapason