"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."
George Loomis, New York Times
Eric Cutler's uniquely virtuosic voice has been celebrated in the world's leading opera houses. He has appeared at the Metropolitan Opera, New York; the Bayerische Staatsoper, Munich; the Salzburg Festival; the Royal Opera House, Covent Garden; Venice's Teatro la Fenice; the Lyric Opera of Chicago; La Monnaie, Brussels; the Teatro dell'Opera, Rome; the Canadian Opera Company; Houston Grand Opera; Vlaamse Opera; Opera Australia; the Grand Théâtre de Genève; the Glyndebourne Festival; Paris Opera; Santa Fe Opera; and many others. He also collaborates regularly with leading orchestras in the USA and Europe.
Cutler is making a name for himself in French heroic and German repertoires. Recent roles include Iopas Les Troyens (Metropolitan Opera new production by Francesca Zambello), Le Chevalier des Grieux Manon (Philharmonie Luxembourg), Leicester Maria Stuarda (Houston Grand Opera), the title role of Faust (Greek National Opera), and Raoul de Nangis Les Huguenots (La Monnaie new production by Olivier Py, cond. Marc Minkowski). Other French repertoire includes Gounod's Roméo et Juliette (Teatro la Fenice, Opera Australia), Iopas Les Troyens (Paris Opera, Valencia under Valery Gergiev including a DVD, Boston Symphony Orchestra under James Levine), Nadir Les pêcheurs de perles (Lyric Opera of Chicago), the title role of La Damnation de Faust (Vlaamse Opera), Nicias Thaïs (Edinburgh Festival under Sir Andrew Davis) and Leopold La Juive (Metropolitan Opera new production). His roles in Italian have included the Duke Rigoletto (La Fenice, Houston Grand Opera), Alfredo La traviata (Bayerische Staatsoper), Ernesto Don Pasquale (Royal Opera House), Edgardo Lucia di Lammermoor (Opera Australia), the supremely challenging Arturo I Puritani (Metropolitan Opera opposite Anna Netrebko including DVD), and Amenophis Moïse et Pharaon (at both the Salzburg Festival in Rome under Riccardo Muti).
Other recent highlights include a new production of Szymanowski's Król Roger directed by Kristoph Warlikowski and conducted by Kazushi Ono; the Italian Tenor Der Rosenkavalier and Andres Wozzeck (both at the Metropolitan Opera); Tamino Die Zauberflöte (Glyndebourne, Edinburgh Festival under Claudio Abbado, Metropolitan Opera); and Ferrando Così fan tutte (Lyric Opera of Chicago under Sir Andrew Davis).
Engagements in the 2013-14 season include Georg Der fliegende Holländer (Wagner Geneva Festival); the Italian Tenor Der Rosenkavalier (Metropolitan Opera); and the title role of Les contes d'Hoffmann (Teatro Real, Madrid). Further ahead, roles include Apollo Daphne, the title role of Idomeneo, Adolar Euryanthe, and the title role of Lohengrin.
Recent concert engagements include Rossini's Stabat Mater (Boston Symphony Orchestra under Rafael Fruhbeck de Burgos), Berlioz’s Requiem (Los Angeles Philharmonic under Esa-Pekka Salonen), Mozart's Mass in C Minor and Beethoven’s Symphony No.9 (both BBC Proms), and Steuermann Der fliegende Holländer (San Francisco Symphony under Michael Tilson Thomas).
Cutler is a native of Adel, Iowa and an alumnus of Luther College and the Metropolitan Opera's Lindemann Young Artists Development Programme. He is the winner of the 2005 Richard Tucker Award, as well as earlier Study and Career Grants from the Tucker Foundation. He also won the Martin E. Segal Award from Lincoln Center and the ARIA Award. He currently lives in Germany with his wife and two children.
Eric Cutler is represented by Intermusica worldwide.
January 2014 / 504 words. Not to be altered without permission. Please destroy all previous biographical material.
Apollo Daphne / La Monnaie
“Eric Cutler’s muscular Apollo shows him successfully graduating to Heldentenor status”
Francis Carlin, Financial Times, September 2014
“The American tenor Eric Cutler stood out of the soloists for his phenomenal portrayal of the role of Apollo.”
Peter Franken, Place de l’Opera, September 2014
Title role Tales of Hoffmann / Teatro Real
Cond. Sylvain Cambreling Dir. Christoph Marthaler
“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.”
Javier del Olivo, Mundo Clasico, May 2014
“El papel titular recaía en el tenor estadounidense Eric Cutler…Su voz corrió sin dificultad…sus agudos sonaron limpios y brillantes…Posee un timbre agradable y fraseó siempre con gusto e intención.”
“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.”
"Hoffmann, der Poet, den Eric Cutler mit physischer Präsenz und geschmeidigem Tenor singt, fegt wie ein Wirbelwind in die Lehrräume des akademischen Zeichnens und rüttelt am Käfig der Wissensgesellschaft."
Von Paul Ingendaay, Deutschlandfunk, May 2014
CD Review: Eric/Georg Le Vaisseau fantôme/Der Fliegende Holländer / CD: Naïve
Cond. Marc Minkowski
“Cutler’s high, flexible, French-sounding tenor also sounds more comfortable at the top of his role than heftier Heldentenors.”
Hugh Canning, International Record Review, May 2014
CD Review: Eric/Georg Le Vaisseau fantôme/Der Fliegende Holländer / Naïve
Cond. Marc Minkowski
“Eric Cutler’s Georg provides tenorial grace.”
Francis Muzzu, Opera Now, February 2014
“Particularly persuasive is the wonderful Eric Cutler as Eric, who gets noticeably better from one year to the next.”
Matthias Käther, Kulturradio, January 2014
“Eric Cutler is an extremely passionate (Heart-) Hunter.”
“Eric Cutler ein äußerst leidenschaftlicher (Herzens-)Jäger.”
Kultiversum, December 2013
Italian Tenor Der Rosenkavalier / Metropolitan Opera
Cond. Edward Gardner, Dir. Robin Guarino
"What a treat it was to have the noted tenor Eric Cutler in the small but vivid role of the Italian tenor, whose love song livens up the Marschallin’s first act salon. His robust reading provoked one of the rare outbursts of spontaneous applause the part has received since Luciano Pavarotti sang it long ago."
Paul du Quenoy, New York Classical Review, November 2013
“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.”
Jay Nordlinger, New Criterion, December 2013
Nadir The Pearl Fishers
Santa Fe Opera / cond. Emmanuel Villaume / dir. Lee Blakeley
“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’”.
George Loomis, Opera, November 2012
“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”.
Simon Williams, Opera News, November 2012
“The work's greatest hit is the tenor-baritone duet, "O fond du temple saint," which Cutler and Magiera deliver splendidly. 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.”
John von Rhein, Chicago Tribune, August 2012
“Eric Cutler, her Nadir, makes a grand impression... [his] large voice simply soars in his uppermost passages with a mixture of sweetness and strength that makes this demanding role his own. Plus, he’s a generous partner in the duets that help define the texture of this opera.”
John Stege, The Santa Fe Reporter, July 2012
“Eric Cutler's focused, ringing tenor and blazing high notes made for an exciting Nadir...”
Heidi Waleson, Wall Street Journal, August 2012
“As Leila’s secret lover, Eric Cutler’s Nadir was just as vividly characterized as Cabell’s Leila, his high tenor blending winningly with Cabell in their duets... the tenor’s sweet top notes and control were beyond reproach.”
Lawrence A. Johnson, The Classical Review, August 2012
“Cutler ... has moved to bigger repertoire; he looked and sounded wonderful.”
Sarah Bryan Miller, StlToday.com, August 2012
Leicester Maria Stuarda / Houston Grand Opera
“Eric Cutler is stylish and ardent as Leicester, the cooked-up object of both queens’ love”
George Loomis, Financial Times, April 2012
“Eric Cutler brings a warm, secure… tenor to Leicester, warm with Mary and properly wary with Elizabeth”
Everett Evans, Houston Chronicle, April 2012
“…sung here by tenor Eric Cutler with bright, ardent tone”
Mike Silverman, Association Press, April 2012
“He sounded robust…and his pleas to Elizabeth to save his inamorata were heartfelt and solid”
D.L Groover, Houston Press, April 2012
Liszt A Faust Symphony / Chicago Symphony Orchestra
cond. Riccardo Muti / dir. Duain Wolfe
“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.”
John von Rhein, Chicago Tribune, October 2011
Raoul Les Huguenots
La Monnaie, Brussels / cond. Marc Minkowski
“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, June 2011
“Eric Cutler’s outstanding Raoul de Nangis is heroic yet supple...”
Financial Times, June 2011
“Eric Cutler makes light of all the traps present in the role of Raoul de Nangis...”
Diapason, June 2011