‘Les Contes d’Hoffmann’ at Semperoper Dresden

This autumn, Eric Cutler takes on the title role of Les Contes d’Hoffmann at Semperoper Dresden. Renowned for his portrayal of Hoffmann, his interpretation of the enigmatic character has graced the stages of numerous prestigious opera houses worldwide. His exceptional audio-visual recording of the opera at Teatro Real, released on the Bel Air Classiques label,  garnered acclaim from Gramophone Magazine, which lauded him as “all vocal ease, elegance and passion.”

Johannes Erath’s production has received high praise for its strong emphasis on theatrical elements, featuring set designs by Heike Scheele and Norman Heinrich, costume designs by Gesine Völlm, lighting designs by Fabio Antoci, and video projections by Alexander Scherpink. In addition to Cutler, the incredible cast features Štěpánka Pučálková as Niklausse/The Muse, Kathryn Lewek as Olympia, Hrachuhí Bassénz as Antonia, Magdalena Anna Hofmann as Giulietta, Egils Silins as Lindorf/Coppélius/Dr Miracle/Dapertutto, Aaron Pegram as Andrès/Cochenille/Pitichinaccio/Frantz, Tilmann Rönnebeck as Luther, Ilya Silchuk as Hermann,  Simeon Esper as Nathanaël, Jürgen Müller as Spalanzani, Tilmann Rönnebeck as Crespel, Michal Doron as Antonia’s Mother, Ilya Silchuk as Schlémil, and Reinhold Schreyer-Morlock as Wilhelm. Frédéric Chaslin leads from the podium.

The performances are on October 31, November 4, 8, and 16.

‘Der fliegende Holländer’ at Bayerische Staatsoper

Commencing his 23/24 season, Eric Cutler returns to the role of Erik in Wagner’s Der fliegende Holländer at the prestigious Bayerische Staatsoper. Cutler, who delivered a remarkable performance as Erik at The Metropolitan Opera last season, garnered high praise from Bachtrack:

“As Erik, the hunter who wants to marry Senta, Eric Cutler endowed the role with uncommon pathos, his vibrant, highly polished tenor displaying gorgeous tone and elegantly expressive phrasing. His third act cavatina “Willst jenes tag du nicht mehr entsinnen”, in which he recalls their past happiness together and seeks assurance of her love, was heartbreaking”

This provocative production by Peter Konwitschny will also star Iain Paterson as the Dutchman, Ain Anger as Daland, Jennifer Holloway as Senta, Victoria Karkacheva as Mary, and Tansel Akzeybek as the Steersman. Lothar Koenigs leads from the podium.

Performances are scheduled for October 13, 16, 19, and 22.

Reviews for ‘Der Fliegende Holländer’ at The Metropolitan Opera

“The clear thrust of Eric Cutler’s tenor gave the role of Erik, Senta’s abandoned lover, unusual poignancy.”

The New York Times

“Not to be overlooked was tenor Eric Cutler (in his first Met performance since 2013) as Erik, matching his cohorts vocally with truly elegant singing. Of the main characters, Erik gets two solo passages including “Mein Herz, voll Treue bis zum Sterben,” and “Willst jenes Tags du nicht dich mehr entsinnen.” Both are passionate appeals to Senta and Cutler delivered both with vocal intensity, albeit different in character. “Mein Herz” was forceful and imposing, his sound fresh and booming in this early aria. But he also managed sweet diminuendo on the F# fermatas, even adding in a gentle portamento down to the slurred D natural in the phrase that silkily launched the ensuing piano passage.”


“Tenor Erik Cutler showed a lovely, high tone and graceful, expressive phrasing as Erik, the sailor who promises himself to Senta.”

New York Classical Review

“Vocally, the evening belonged to Eric Cutler, returning to the Met after a ten-year absence, during which the American tenor has retooled as a heldentenor. Cutler retains the flexibility and legato that served him well for years as a bel canto specialist, and his voice has gained in volume and dark coloring. He brought these qualities to the role of Erik, who finds himself abandoned by his betrothed Senta in her quest to save the Dutchman’s soul. A committed actor, he communicated an aching tenderness in his last-act aria imploring Senta to resume their relationship.”


“This year, the finest overall singing again came from the Erik: Iowan tenor Eric Cutler, who in the decade since last at the Met has built up his light instrument into a reportedly excellent Lohengrin and Ariadne Bacchus. He sang Erik with rare command and security and acted with commitment…”

Wagner Notes

‘Der Fliegende Holländer’ at The Metropolitan Opera

This spring, Eric Cutler takes on the role of Erik in the upcoming production of Der Fliegende Holländer at The Metropolitan Opera. Under the baton of conductor Thomas Guggeis, Cutler brings his exceptional artistry to this captivating production, with direction by the talented Francois Girard whose visionary approach seamlessly combines powerful storytelling, breathtaking visuals, and the iconic score of Wagner. Mr. Cutler shares the stage with esteemed colleagues including Elza van den Heever as Senta, Tomasz Konieczny as the Dutchman, Dmitry Belosselskiy as Daland, and Richard Trey Smagur as Steuermann.

The performances are scheduled for May 30, June 3, 7, and 10.

‘Der Freischütz’ at Bayerische Staatsoper

This month, Eric Cutler returns to Bayerische Staatsoper as Max in Dmitri Tcherniakov’s new production of  Der Freischütz. Mr. Cutler shares the stage with Andrew Hamilton as Ottokar, Bálint Szabó as Kuno, Julia Kleiter as Agathe, Mirjam Mesak as Ännchen, Nicholas Brownlee as Kaspar/Samiel, Wilhelm Schwinghammer as the Hermit, and Milan Siljanov as Kilian. Lothar Koenigs conducts.

Performances are on April 16. 19, 22, and 25.

House Debut in ‘Ariadne auf Naxos’ at Wiener Staatsoper

On November 9, 11, 14 and 17, Eric Cutler joins the Vienna State Opera for his company debut as Bacchus in Richard Strauss’ Ariadne auf Naxos. Mr. Cutler sang his first performances of the role at Festival d’Aix-en-Provence in 2018, earning rave reviews and cementing him as one of today’s leading tenors in the Germanic repertoire.

“… Eric Cutler, once again proving himself a Straussian tenor of distinction. He sang his punishing music as if it were the easiest thing in the world.  Where so many before have run out of gas, he had room to spare.  He was also able to pull back and shade the tone ravishingly.  The final few minutes saw Cutler opening up and soaring on high in the most memorable way.”(Operatraveller)

Presented initially to Viennese audiences in 2012, Sven-Eric Bechtolf’s staging brings an intimacy to the light-hearted work with minimalistic set design by Rolf Glittenberg and effective costuming by Marianne Glittenberg. This production will also feature Camilla Nylund as Ariadne, Christina Bock as Komponist, Caroline Wettergreen as Zerbinetta, Thomas Eberstein as Tanzmeister, and Michael Arivony as Harlekin, among others. Thomas Guggeis conducts.

Role Debut as Siegmund in Zürich’s ‘Die Walküre’

Eric Cutler will begin his 2022-23 season with a highly anticipated role debut as Siegmund in Die Walküre with Zürich Opera. He has previously sung leading Wagnerian roles such as Erik in Der fliegende Holländer and the titular character of Lohengrin with several internationally renowned companies including the Bayreuth Festival, Houston Grand Opera, La Monnaie and Vienna State Opera.

This new production marks the second installment of Andreas Homoki’s Ring Cycle for Zürich which will be musically led by the renowned conductor, Gianandrea Noseda. Mr. Cutler will share the stage with Christof Fischesser as Hunding, Tomasz Konieczny as Wotan, Daniela Köhler as Sieglinde, Patricia Bardon as Fricka, Camilla Nylund as Brünnhilde, Sarah Cambidge as Helmwige, Julie Adams as Gerhilde, Justyna Bluj as Ortlinde, Anna Werle as Waltraute, Simone McIntosh as Siegrune, Susannah Haberfeld as Rosweisse, Freya Apffelstaedt as Grimgerde and Nana Dzidziguri as Schweiterleite.

Performances will take place on Sept 18, 21, 29, October 2, 5, 8 and 18.

Rusalka at Teatro Real DVD shortlisted for a Gramophone Award

Today, the 72 recordings that form the second round of the Gramophone Classical Music Awards 2022 are revealed in a free-to-view digital magazine. From this list of celebrated recordings, an album will be chosen as the winner in each of the 11 recording categories, and from that shortlist, a single album will be named ‘Recording of the Year’ on October 4.

Review: Der fliegende Holländer in Bayreuth

“Dès lors, son duo avec l’Erik d’Eric Cutler sera d’une puissance terrassante : lui, tout aussi ardent, tempérament excessif, impatient, exigeant, jaloux, jouant d’une voix de ténor certes, mais charnue et dense, de telle sorte qu’on a le sentiment d’entendre là deux forces vitales s’affronter.”

Forum Opéra

‘Der fliegende Holländer’ at Bayreuth Festival

On August 6, 16, 20 and 27, Eric Cutler will perform the role of Erik in Der fliegende Holländer at the world-renown Bayreuth Festival. This marks his second engagement with the festival following his debut in the same role in 2021.

First seen last summer, Dmitri Tcherniakov’s modern production brings focus to the psychological trauma of the Dutchman. Included in the brilliant cast will be Thomas J. Mayer as Dutchman, Georg Zeppenfeld as Daland, Elisabeth Teige as Senta, Nadine Weissmann as Mary and Attilio Glaser as the Steersman. Maestra Oksana Lyniv returns to conduct the run.

‘Die Frau ohne Schatten’ at Bayerische Staatsoper

On July 28 and 31, Eric Cutler appears as the Emperor in Richard Strauss’ Die Frau ohne Schatten with Bayerische Staatsoper.   

Krzysztof Warlikowski’s provocative staging of the enigmatic opera, first seen at the company in 2013, delves into the psyches of the two main couples and embraces the central theme of fertility with the use of children on stage throughout the production.

The all-star cast also includes Camilla Nylund as the Empress, Michaela Schuster as the Nurse, Michael Volle as Barak the Dyer and Nina Stemme as the Dyer’s Wife. Sebastian Weigle conducts.

‘Lohengrin’ at Salzburg Easter Festival

On April 9 and 18, Eric Cutler will reprise the title role in Wagner’s Lohengrin at the prestigious Salzburg Easter Festival. This new production, co-produced with Vienna State Opera, has been envisioned by Jossi Wieler and Sergio Morabito and is set to be remounted in Vienna State Opera’s 2023-2024 season.

Sharing the stage with Mr. Cutler will be Hans-Peter König as Heinrich der Vogler, Jacquelyn Wagner as Elsa von Brabant, Martin Gantner as Friedrich von Telramund, Elena Pankratova as Ortrud and Markus Brück as Der Heerrufer. Staatskapelle Dresden and a trio of choirs (Dresden State Opera Choir, Salzburg Bach Choir, Salzburg State Theater Choir) will also appear under the baton of Christian Thielemann, who will finish his tenure as Artistic Director of the festival this year. 

A radio broadcast will occur on Saturday April 9 at 19:30 on Ö1.

‘Lohengrin’ in concert at Staatsoper Hamburg

This January, Eric Cutler will perform the title role in Wagner’s Lohengrin at Staatsoper Hamburg. Conducted by the illustrious Kent Nagano, the opera will be presented in concert with the Hamburg Philharmonic State Orchestra and the opera company’s chorus.

Quickly becoming one of the world’s leading Wagnerian tenors, Mr. Cutler made his debut as Lohengrin at Brussels’ La Monnaie which was featured on mezzo.tv.

Mr. Cutler will join a talented cast of artists including Simone Schneider as Elsa von Brabant, Wilhelm Schwinghammer as Heinrich der Vogler, Okka von der Damerau as Ortrud, John Lundgren as Friedrich von Telramund and Andrzej Dobber as Heerrufer. 

Performances will take place on January 16, 23, 26, 29.

Bühne Magazin – Liebe am Abgrund: Eric Cutler singt Peter Grimes im Theater an der Wien

Bühne Magazin

Benjamin Brittens Oper „Peter Grimes” bewegt in einer Inszenierung von Christof Loy am Theater an der Wien. Das liegt auch an der fulminanten Darbietung von US-Tenor Eric Cutler.

Auf der Kippe stehen: Das beschreibt die Situation von Außenseiter Peter Grimes aus Benjamin Brittens beliebter Oper. Dieses Motiv findet sich auch im Bühnenbild der Inszenierung von Christof Loy im Theater an der Wien wieder. An einer steilen Rampe wurde ein Bett montiert, das in den Orchestergraben zu kippen droht. Die Premiere der Oper in drei Akten mit den expressiven und berühmten Orchesterzwischenspielen, die immer wieder auch konzertant aufgeführt werden, markierte 1945 den Beginn von Brittens Karriere als einer der prägendsten Opernkomponisten des 20. Jahrhunderts. Der titelgebende Part ist ein Marathon für jeden Tenor. Einerseits handwerklich, als auch psychologisch, wie der US-amerikanische Tenor Eric Cutler im Interview berichtet, der in Wien sein von der Kritik hochgelobtes Debüt in der Rolle gab.

Das Meer als Protagonist

BÜHNE: Peter Grimes gilt als eines der großen musikalischen Meisterwerke des 20. Jahrhunderts. Wie würden Sie jemanden, der sich mit Opern nicht wirklich auskennt beschreiben, warum das so ist?

Eric Cutler: Britten konnte damit eine harmonische und musikalische Sprache entwickeln, die unverwechselbar ist. Es gibt einfach niemanden, der so klingt. Man kann in der Musik hören, dass er lange Jahre an der Nordsee in Aldeburgh an der Ostküste Großbritanniens verbracht hat. Das Meer, der Wind, Stürme, diese Geräusche der Natur waren wohl immer in seinem Hinterkopf und eine ständige Begleitung in seinem Leben. Es ist eigentlich so, dass das Meer selbst ein zusätzlicher Charakter in seiner Oper ist.

Allegorie auf die Unterdrückung von Homosexuellen

BÜHNE: Sie arbeiten bereits zum dritten Mal mit Regisseur Christof Loy zusammen. Diesmal ist das Bühnenbild des Fischerdorfs, in dem Peter Grimes lebt, sehr reduziert. Was war seine Vision für diese Inszenierung?

Eric Cutler: Ja, wir sind mittlerweile gut befreundet. Christofs Wunsch war, die Geschichte von Peter als Außenseiter zu erzählen und wie er mit seiner Identität als Homosexueller ringt – und auch wie er um seinen Platz in der verschlossenen Dorfgemeinschaft kämpft. Es ist ein Blick auf die Geschichte von Peter, wie wir sie zuvor noch nicht gesehen haben.

Es ist bekannt, dass Britten selbst homosexuell war und die Rolle für seinen langjährigen Lebenspartner Peter Pears geschrieben hat. Durch das gesamte Stück ziehen sich subtile Hinweise auf seine sexuelle Orientierung. Aber ich glaube nicht, dass wir jemals eine Produktion gesehen haben, in der es explizit um ein Coming-Out geht.

BÜHNE: Diese emotionale Gratwanderung zeigt sich auch im Bühnenbild. Es sieht nicht ganz einfach aus, darauf zu spielen.

Eric Cutler: Die Bühne ist wie eine Black Box. Drei Wände sind hoch und schwarz. Der Boden ist eine Rampe, die für uns eine tatsächlich eine Herausforderung darstellt. Gleichzeitig profitieren die Zuseher:innen, da es dadurch keinen schlechten Sitzplatz im Haus gibt. Im Zentrum ist ein Bett. Es wirkt, als ob es gleich in den Orchestergraben fällt. Alles ist unglaublich minimalistisch und verdichtet.

Es macht große Freude, hier zu singen. Denn es ist insgesamt ein unglaublich tolles Ensemble. Das Publikum sollte wirklich diese Möglichkeit nutzen, Peter Grimes am Theater an der Wien zu erleben.

Emotionale Höchstleistung

BÜHNE: Apropos Herausforderung: Diese Rolle ist bekannt dafür, dass sie extrem strapaziös ist. Was macht Peter Grimes zu so schwierig?

Eric Cutler: Ich habe bereits sehr viel schwieriges Material gesungen (Cutler ist ein versierter Wagner-Interpret, Anm.). Ich würde gar nicht sagen, dass es die Länge ist. Für Lohengrin, Tannhäuser oder Tristan braucht man einen viel längeren Atem. Bei Peter Grimes spannt sich der Stimmumfang jedoch über zwei Oktaven.

Aber um ehrlich zu sein ist die Schwierigkeit von Peter Grimes nicht das Singen. Es ist das Gefühl. Diese tiefe Einsamkeit, die man fühlen muss, um in den Charakter einzutauchen. Er ist extrem isoliert. Ich wünschte auf eine Art oder Weise, dass ich ihn am Ende des Tages einfach wegpacken könnte. Aber ich nehme ihn mit nach Hause und lebe mit ihm und seiner gequälten Seele während der sechs Wochen dieser Produktion.

BÜHNE: Und nach so einen Projekt – wie schütteln Sie Rollen wie Peter Grimes wieder ab?

Eric Cutler: Ich plane gerne drei oder vier Wochen zwischen Projekten ein, ich kann nicht von Job zu Job springen. Und ich habe auch zwei kleine Kinder. Danach gehe ich also zurück in mein Familienleben. Und so wuselig und ereignisreich wie das ist, wird es mir hoffentlich nicht schwerfallen, Peter wieder loszulassen.

Title role debut in ‘Peter Grimes’ at Theater an der Wien

This month, Eric Cutler will make his highly anticipated title role debut in Britten’s Peter Grimes at Theater an der Wien. This revival of the award-winning 2015 production directed by Christof Loy was requested by Theater an der Wien’s audiences as it was voted as one of the top three productions by the company.

Taking place on October 16, 18, 20, 23 and 25, Mr. Cutler will share the stage with a fantastic cast of artists, including Gieorgij Puchalski as Peter’s new apprentice, Agneta Eichenholz as Ellen Orford, and Andrew Foster-Williams as Balstrode, among others. This dark and thrilling opera will also feature the Arnold Schoenberg Chor with the ORF Radio-Symphonieorchester Wien, under the baton of Thomas Guggeis.

Debut at Bayreuth Festival in a new production of ‘Der fliegende Holländer’

Eric Cutler makes his highly anticipated debut at the Bayreuth Festival this month, starring as Erik in Wagner’s Der fliegende Holländer. The festival opens with this new production by Dmitri Tcherniakov, featuring Oksana Lyniv conducting a star-studded cast and the Choir and Orchestra of the Bayreuth Festival.

Performances will take place on July 25, 31, August 4, 7, 11, 14, & 20. Cutler is joined by a fantastic cast on stage, including John Lundgren as the title role, Asmik Grigorian as Senta, Georg Zeppenfeld as Daland, Marina Prudenskaya as Mary, and Attilio Glaser as The helmsman.

Cutler’s previous performance as Erik at the Houston Grand Opera garnered rave reviews with Theater Jones saying, “[Cutler] shows off a real leading man tenor voice perfectly suited to Wagner’s demanding music,” and Texas Classical Review praising, “[he] boasted a voice with ring and security.”

The premiere will be streamed live on 25 July at 6pm CEST via BR-KLASSIK.DE, with a live radio transmission beginning at 6pm via MDR KULTUR. The production will be available to stream via DG Stage, beginning on July 27 and available until 2 August. Additionally, the production will be broadcast live in selected cinemas across Germany. To find a cinema near you, click here.

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