Biography


David Cushing’s versatile bass-baritone range is effortlessly demonstrated in a variety of roles including recent appearances in the title roles of Don Pasquale and Le nozze di Figaro, Frère Laurent in Roméo et Juliette, and Bottom in A Midsummer Night’s Dream. Of a recent performance, theBoston Herald exclaimed, “his portrayal of hoodwinked old Pasquale, filled with pathos and unself-conscious humor, was a revelation. He could easily specialize in Italian opera’s wealth of foolish-old-man roles and become the basso buffo of his generation.”

This season, Mr. Cushing will return to Boston Lyric Opera as Bartolo for their production of Le nozze de Figaro and as Trulove in The Rake’s Progress; will perform the roles of Frère Laurent/Duke in Roméo et Juliette with Opera Tampa; Police Officer in Der Rosenkavalier with Boston Symphony Orchestra; Commendatore/Masetto in Don Giovanni at the Bar Harbor Music Festival, and as a soloist in Philip Glass’sSymphony No. 5 with The Washington Chorus.

 

Highlights from recent seasons include performances as Sarastro in Die Zauberflöte, Count Monterone in Rigoletto, Dr. Grenvil in La traviata, Masetto in Don Giovanni, and a part in an exciting staging of Frank Martin’s Le vin herbé with Boston Lyric Opera. Mr. Cushing first débuted with Boston Lyric Opera in the role of Count Monterone in Rigoletto, and has returned in performances as Palèmon in Thaïs, Truffaldino in Ariadne auf Naxos, Osmin in Die Entführung aus dem Serail, Raimondo in Lucia di Lammermoor, Don Basilio in Il barbiere di Siviglia, The Bonze in Madama Butterfly, Angelotti in Tosca, Count Horn/Tom in Un ballo in maschera, Arthur in The Lighthouse, and as Adolfo in John Musto’s The Inspector.

Over the past few seasons, Mr. Cushing’s noted engagements have included his début in the role of George Wilson in John Harbison’s The Great Gatsby with Emmanuel Music at Jordan Hall and the Tanglewood Festival; Tom inUn ballo in maschera, Sprecher in Die Zauberflöte, and Sparafucile/Count Monterone in Rigoletto with Opera Tampa; and multiple roles with Opera Colorado including Nourabad in Les pêcheurs des perles, Count Horn/Tom in Un ballo in maschera, and Dr. Grenvil in La traviata. Other notable engagements include Sarastro in Die Zauberflötewith Florentine Opera of Milwaukee; Leporello in Don Giovanni with Syracuse Opera and Opera Tampa; The Bonze in Madama Butterfly with Opera Theatre of St. Louis and Opera Colorado; Fifth Jew and Cappadocian in Salome withMichigan Opera Theatre; Colline in La bohème with Opera Columbus; Alidoro in La Cenerentola with Lake George Opera; Dr. Dulcamara in L’elisir d’amore, Figaro in Le nozze di Figaro with Opera North; Mephistopheles in Faust with Baltimore Concert Opera; Montano in Boston Youth Symphony Orchestra’s production of Otello; Angelotti inTosca with Mill City Summer Opera; Masetto in Don Giovanniwith Florentine Opera of Milwaukee, Nashville Opera, Baltimore Concert Opera, Opera Colorado, and Opera New Jersey; and the leading role of Maometto in Rossini’s rarely performed opera L’assedio di corinto alongside renowned soprano Elizabeth Futral with the former Baltimore Opera. Additionally, he appeared in Opera Parallèle’s production ofThe Lighthouse. With Boston University’s Opera Institute performances included his début in the title role in DonPasquale and Frère Laurence in Roméo et Juliette.

In his recent début at Symphony Hall as soloist in Beethoven’s Symphony No. 9, the Boston Herald described his performance as “dynamite, with spine-tingling resonance.” He also sang Verdi’s Requiem with the Harvard Radcliffe Orchestra and the Blizzard Voices concert with Boston Modern Opera Projects. Additionally, he has performed as the soloist in Händel’s Messiah, Dvořák’sStabat Mater, the Brahms Requiem, Fauré Requiem, MozartRequiem, Haydn’s Lord Nelson Mass, Mozart’s Coronation Mass, Beethoven’s Mass in C, Bruckner’s Te Deum, and Schubert’s Mass in G.