Eric Barry

Tenor

Eric Barry
REVIEWS

Beethoven: Symphony No. 9 / Indianapolis Symphony Orchestra

“Barry, accompanied by a marching-band variation, gave expansive, spread-armed heft to the tenor’s solo stanza. His operatic flair served as a reminder that the source of Wagnerian tenorism, from Lohengrin through Tristan, lies in this striring passage.”

Indiamapolis Star Arts

 

Peter Quince: The Turn of the Screw / Beethoven Easter Festival

"Eric Barry is already perfect, and he has a long career  ahead of him."

Teatr Dia Was

 

Peter Quince: The Turn of the Screw / Dux CD

“Eric Barry makes a virtue of his bright, clear singing as Quint.”

Gramophone

 

"Singing the Prologue and Peter Quint, Eric Barry offers a clean, clear tenor, free lyricism and excellent fiction; he finds an unearthly and haunting quality for his melismatic summons to Miles in the nocturnal garden."

Opera

 

Edgardo: Lucia di Lammermoor / Amarillo Opera

“Eric Barry was at his best in the final scene. He was heartbroken, but refrained from sobbing all over the place as so often happens. He has a fine lightish lyric tenor voice that is capable of ringing high notes and that doesn't bottom out in the lower parts."

TheaterJones

 

Lionel: Martha / Boston Lyric Opera

“Spanish-American tenor Eric Barry, who repeatedly brought down the house with his ardent portrayal of Lionel, soared above the orchestra with a fine, well-focused tone and impeccable diction.”

Boston Music Intelligencer

 

Avito: L’Amore dei Tre Re / Beethoven Easter Festival

“Avito, to whom the beautiful Fiora was betrothed before the kingdom of Altura was conquered by Archibaldo, is sung by Spanish-American tenor Eric Barry, an engaging young singer who has been acclaimed in rôles as varied as Arbace in Rossini’s Ciro in Babilonia and Rodolfo in Puccini’s La bohème. Lyricism never persists for more than a few bars in the tense world of L’amore dei tre re, but Mr. Barry’s fluid lyric tenor fills his musical lines expressively... the appeal of Mr. Barry’s voice in Avito’s music is undeniable.”

Opera Today

 

Mozart: Requiem / Washington National Cathedral Choir

“Tenor Eric Barry dispatched a confident voice of clarion delivery. The vocal color was bright and pleasingly well focused.”

Examiner.com Entertainment

 

Rodolfo: La bohème / North Carolina Opera

“Barry’s warm, lyrical tenor easily encompasses Rodolfo’s impassioned outbursts, his youthful voice clearly heard…”

News Observer

 

Rodolfo: La bohème / Pittsburgh Opera

“La bohème provided an early opportunity for Mr. Barry to show off his pipes in "Che gelida manina," when the poet declares his love for Mimi (Leah Crocetto, making her debuts both with Pittsburgh Opera and as Mimi). The tenor demonstrated a warm, bright tone and consistent voice. The sentiment of the aria was filled out by the orchestra and by the singer’s strong high C."

Pittsburgh Post Gazette

 

“…the lyric beauty of tenor Eric Barry as Rodolfo.”

Pittsburgh Tribute Review

 

Otello (Rossini): Opera in the Heights

“Tenor Eric Barry sang with depth and breadth.”

Arts and Culture

 

“Eric Barry, as Otello, has Pavarotti heft but much better stage command as well as an equally impressive lyric tenor.”

Houston Press

 

Tom Rakewell: The Rake’s Progress / Wolf Trap Opera

“Barry used his vocal resources with admirable nuance and a touch of sweetness. His diction is exemplary, too, no small matter when dealing with such highly poetic English.”

Baltimore Sun

 

“Eric Barry left an impressive mark in the title role with a bright, clear timbre, evenness of projection and exceptional sensitivity to subtleties of text and melodic contour. The tenor proved to be a persuasive actor as well, conveying Tom's moral and mental descent with considerable skill and, in the final scene, producing sweet, subtle singing that proved quite affecting."

Opera News

 

“Texas-born tenor Eric Barry excelled in the demanding role of Tom Rakewell, in one of the most promising performances by a Wolf Trap young artist in recent memory. Lustrous, puisannt high notes never faltered or starined, with clean accuracy of intonation and rhythm, spinning out the baroquified curlicues of Stravinsky’s vocal writing.”

Washington Post

 

Lensky: Eugene Onegin / North Carolina Opera

“The cast was – in a word – spectacular…Lensky was tenor Eric Barry, who made a consistently favorable impression, scoring big in his several crucial arias.”

CVNC

 

“Joyce El-Khoury (Tatiana) and Eric Barry (Lensky) stole the show, though.... Barry, meanwhile, makes a great tragic tenor, with a dripping upper register that projects uncertainty. Both were making their second appearances with the N.C. Opera, and I hope to hear them with the Opera again soon.”

Indy Week



DISCOGRAPHY

Britten The Turn of the Screw (roles of Prologue / Peter Quint)
Emily Workman, Kathleen Reveille, Diana Montague, Rosie Lomas, Dominic Lynch
Beethoven Festival Warsaw / Lukasz Borowicz
Dux CD 1247-1248

Gluck Iphigénie en Tauride (role of Pylade)
Helena Juntunen, David Pershall, George Mosley
Beethoven Festival Warsaw / Lukasz Borowicz
PRCD 1906-1907

Holst At the Boar’s Head (role of Prince Hal)
Kathleen Reveille, Nicole Percifield, Gary Griffiths, Jonathan Lemalu
Warsaw Chamber Opera Sinfonietta / Lukasz Borowicz
Dux CD 1307 / 1308

Montemezzi L’Amore dei Tre Re (role of Avito)
Sara Jakubiak, David Parshall, Nikolay Didenko
Beethoven Festival Warsaw / Lukasz Borowicz
PRCD 1562-1563

Verdi Simon Boccanegra (role of Gabriele Adorno)
Amanda Hall, Stephen Powell, Andrew Craig Brown, Nikolay Didenko
Beethoven Festival Warsaw / Lukasz Borowicz
PRCD 1751-1752

AUDIO / VIDEO
Eric Barry sings Tchaikovsky: Eugene Onegin - Kudà, kudà