Recent Reviews:


The Nefarious, Immoral, But Highly Profitable Enterprise of Mr. Burke and Mr. Hare


"Baritone David Cushing put up an affecting performance as the doddering soldier Donald, the first corpse the pair sold" Madonna - Boston Globe

"The victims’ stories were haunting. David Cushing, as Donald, sang with a strong, cavernous voice." Keebaugh, Boston Classical Review

"Donald (in a taught, focused performance by baritone David Cushing), goes first – his name is written first on the surgeon’s chalkboard, and like its shadowy echo on the board (even after being erased and covered with a succession of later names), Cushing’s tragic intensity and lyricism stays with us." Prichard - Boston Musical Intelligencer

"Bass-baritone David Cushing (Donald, the first source of profit for Burke and Hare) filled the room with warm, rich tones. It was another role perfectly suited for his instrument." Powers- Classical Voice North America


Tosca

"The reliable David Cushing sang Angelotti" Eichler - The Boston Globe

Filling out the cast were David Cushing, who sang the role of Angelotti with stentorian voice" Keebaugh - Boston Classical Review

"And what voices they assembled! From the opening moments when Angelotti, who has just escaped his political imprisonment in Castel Sant'Angelo enters Rome's church of Sant'Andrea della Valle seeking refuge in his family's chapel, we knew we had a strong cast. David Cushing conveyed the desperation of his character." Carroll - New England Public Radio

"David Cushing delivered a muscular account of the escaped political prisoner Angelotti." Blumhofer - The Arts Fuse

"Baritone David Cushing was superb as Angelotti, and I only wish he could be allotted more stage time" Sourakov - The Tech

"On the contrary, baritone David Cushing as Cesare Angelotti provided the strongest performance of the male singers" Curry The Tufts Daily

"...and David Cushing as the escapee Angelotti were in great form" Holden-Buckley - The Theater Times

"David Cushing’s convincing Angelotti does not have a lot of time onstage but his voice is rich and compelling." Boston Arts Diary

" As Angelotti, the escaped political prisoner who sets the plot in motion, baritone David Cushing was as usual excellent" Bonetti - Berkshire Fine Arts


Rev 23

"Bass-baritone David Cushing, as the ancient Chinese master of war-craft, Sun Tze, made a big impression, and generated some big laughs, with his wildly contrasting sepulchral vocal tones and his politely chirruped, tenor-light requests for tea." Geyer - La Scena Musicale

"The only bass in the production, David Cushing as Sun Tse, carried himself with grace yet allowed himself to enter into basso buffoterritory, creating a unique portrayal of the music and one of the more memorable characters in the production. " Wiese - Boston Music Intelligencer

"Cushing’s bass-baritone was well employed as the supercilious Sun-Tze." Powers - Classical Voice North America

" bass-baritone David Cushing’s envisioned a bumbling, congenial Sun Tzu." Agarwala - Boston Music Intelligencer

"David Cushing looked as if he stepped off the pages of Marvel Comics...bass-baritone David Cushing was as authoritative as we have come to expect from him in his many local performances" Bonetti - Berkshire Fine Arts



Don Pasquale


"In the titular role, David Cushing’s rumbling bass sounded like an approaching thunderstorm. Even though he was playing an old curmudgeon, it was pretty darn sexy when he unleashed that near meteorological phenomenon into the theater."Lincoln- Mount Desert Islander

Nozze di Figaro


consistently overshadowed by the comic genius and energy of...David Cushing’s shrewd Don Bartolo. (Someone give that man a BLO lead role already.) -Madonna, Boston Globe


David Cushing’s Bartolo and Michelle Trainor’s Marcellina transformed convincingly from adversary to adoring familial when Figaro’s mysterious parentage is revealed. -Pesetsky, Boston Music Intelligencer


David Cushing’s Bartolo sported the most robust and resonant male voice on the stage. The role of the Count would have had more face and contrasted Figaro better had he switched -Wells, Bachtrack


David Cushing handles the comedic aspect of Bartolo well and possesses a voice that is naturally robust-Holden-Buckley, The Theater Times


Bass David Cushing and soprano Michelle Trainor sounded great as well, and seemed to have real fun in the roles of Marcellina and Bartolo.-Tapper, Edge

Glass Symphony #5

"The bass, David Cushing, had a fine, warm, deep color to his voice..."  -Suchman, Washington Post

"David Cushing’s resonant Bass-Baritone infused the movement on “Suffering” from the Book of Job." -Friscic, DC Metro Theater Arts

Der Rosenkavalier

David Cushing is a name to watch out for; his stentorian Police Commissary had few lines, but his sonorous voice, snappy diction, and versatile facial expressions left this listener wishing he had more to do. -Madonna, Boston Globe


Where to look for a headline in a performance full of them?...To a host of minor roles made good...and even the policeman of David Cushing -Allen, New York Times


The many smaller roles were all admirably dispatched. Shout-outs to several Boston-based singers ...and bass David Cushing as a police commissary.-Bonetti, Berkshire Fine Arts

Lighthouse

"David Cushing, delivered both masterful acting and operatic performance(s). Cushing’s powerful bass perfectly informed Arthur’s religious authoritarianism."-Webb, StarkInsider

"Cushing, a singer new to me, has a spectacularly beautiful and sonorous bass voice, one I hope to hear much more often in local opera productions."-Hirsch, San Fransisco Classical Voice

"David Cushing as Arthur uses his rich bass authoritatively in a hymn-like song about a vengeful God. " Cordell, forallevents

"...while the sanctimonious Arthur (David Cushing, whose resplendently resonant bass offered its own kind of foghorn sonority) launches into a revival march full of religious anguish and hypocrisy." Kosman, SFGate

"Arthur, the evangelical, sung here by the stentorian bass David Cushing, sings of (what else?) salvation in the Lord, his deep voice suddenly rising to a piercing falsetto on the name of Jesus Christ. "-MacBean, Berkeley Daily Planet

"David Cushing as a religious fanatic who sees "the beast" coming for them has an astonishingly beautiful, resonant bass voice that makes you want to swim in its richness of sound. Casting directors at San Francisco Opera, please take note. Cushing is incredible."-Strickland, SF Civic Center

"bass-baritone David Cushing brought rich, evangelist tone"-Milensky, Opera Today

Martha

"The hilarious basso buffo role of Sir Tristan, a friend of the two leading ladies and Falstaffian fool, was portrayed with foppish glee by David Cushing; he dominated the stage vocally and provided light-hearted commentary on the mores of the English nobility."-Prichard, Boston Musical Intelligencer

"Cushing, in a wig that looks like a baby bonnet, makes for a delightfully foppish Sir Tristan"-Gantz, Boston Globe

Don Giovanniakes advantage of one of the opera's more finely drawn roles, and with a solid bass baritone 

"As Leporello, who must reluctantly cover for his master's misdeeds, David Cushing takes advantage of one of the opera's more finely drawn roles, and with a solid bass baritone delivery."-Meacham, Tampa Bay Times

"David Cushing’s Masetto had the healthiest, most un-pushed and un-covered tone of the men. I can’t think of another production when that character was the most sonorous."-Eiseman, The Boston Music Intelligencer

"Cushing’s robust bass-baritone and rough manners suited the country boy who wasn’t going to let anybody push him around, and did anyway."-Wright, Boston Classical Review

Blizzard Voices

"Bass-baritone David Cushing...gave off warmth and radiance that helped salve the wounds inflicted by the text—even as (he) sang it." Schuth, Boston Musical Intelligencer

David Cushing brought his deep, resonant bass to the lines of “The Searching Parties.” -Keebaugh, Boston Classical Review

Rigoletto

"There's the deep, forboding bass baritone David Cushing as the assassin Sparafucile"-Hayes, Tampa Bay Times

"Other standouts included David Cushing, who, in his brief role at Count Monterone, sang with commanding power while cursing Rigoletto." - Keebaugh, Boston Classical Review

"local wonder David Cushing again impressed as the wronged count who calls curses down on poor Rigoletto's head" - Garvey, The Hub Review

"very capable supporting cast...David Cushing as the raging Monterone" - Morgan, The Boston Music Intelligencer

" David Cushing as Monterone was a righteously frightening presence. Every member of the cast added immeasurably to the whole." - Boston Arts Review

Traviata

"Regulars with the company, bass David Cushing and baritone David Kravitz, were in prime voice, and, as always, handled their roles with authority." Ed Tapper- Edge Boston

Love Potion

"As Duke Hoël, the main narrator, David Cushing supplied hefty tone and precise diction," Allen - NY Times 

"David Cushing made a stentorian, well-rounded Duke Hoël." Blumhofer-Fuse Opera
"David Cushing’s resonant bass and dramatic intensity made his appearance as Duke Hoël unexpectedly memorable." Schuth-the Botson Music Intelligencer
"David McFerrin and David Cushing, who appeared oddly (perhaps intentionally) interchangeable as King Mark and the narrator Duke Hoel, brought a solid baritone and bass, respectively, to their parts." Mao-Boston Classical Review
"Vocal stand-outs, including our own reliable local bass David Cushing," Garvey-Hub Review
 
"BLO regular bass David Cushing sang with a rumbling flexibility few basses possess." Bonetti, Berkshire Fine Arts


Magic Flute

"David Cushing’s Sarastro balances commanding with posturing" - Gantz, The Boston Globe

"...inhabited the role fully and sang movingly" - Bonetti, Berkshire Fine Arts

"Cushing has the testosterone, range and resonance as a bass to make this a signature role" - Bunbury, The Boston Musical Intelligencer

"At the opposite vocal range, bass David Cushing delivered an earthy, booming performance of Sarastro, showcasing an excellent vocal technique and nuance." - Fedeles, Tech

"David Cushing’s generous sound was a great asset in his role as Sarastro" - Mao, bostonclassicalreview.com

"David Cushing’s resplendent basso is always a pleasure to hear;" - Tapper, Edge on the net

"David Cushing as Sarastro made the most impression vocally" - johnrpierce.com

The Great Gatsby

"David Cushing made the strongest impression in the tiny role of George Wilson, singing with a plush bass and intense power."   Woolfe, New York Times

"David Cushing's repeated bellowing of "oh, My God!" as Wilson brought searing emotion to the stage."   Pincus, The Berkshire Eagle

"Vocal honours, however, must go to David Cushing as George Wilson, whose voice is a force of nature – his biog in the programme doesn’t list any Wagner roles, but that’s surely where he’s headed if he wants it."  Smith, Bachtrack

"In vivid smaller roles, David Cushing brought appropriately raw bass power to the wronged garage owner George Wilson"  - Wright, Boston Classical Review

"...sang exceptionally well and accurately, and...actually created convincing characters. So did gravelly bass David Cushing as Wilson, Myrtle’s jealous husband driven to murder by her infidelity." Schwartz, New York Arts

"The vocal discovery of the evening was David Cushing as George Wilson. His rich bass filled the hall and brought dignity and possession to this car mechanic, despite the dropped g’s of his working man dialect. I don’t know if this is Harbison’s intention, but as embodied by Cushing, Wilson becomes a heroic figure, his sense of loss at Myrtle’s death becoming the one authentic, direct emotion, his solemn calling to God for Gatsby seeming oddly moral." - Schuth, The Boston Music Intelligencer

"As the mechanic George Wilson, David Cushing sang with a gravelly bass that made his working class status evident." Bonetti, Berkshire Fine Arts

"This performance was persuasively sung from top to bottom with...David Cushing as George Wilson" - Eichler, The Boston Globe

L'Elisir d'amore

"As Dulcamara, baritone David Cushing, who sang Figaro in last year's Marriage of Figaro, has an authoritative stage presence and voice, with a knack for singing the patter that is a staple of Italian operatic comedies."  -Smith, Valley News

"Bass David Cushing had wonderful presence, both vocally and theatrically, as Dr. Dulcamara."  Lowe, Rutland Herald/Times Argus

Barbiere di Siviglia

"David Cushing, fully recovered from an opening-night illness, was in fine form, bringing an almost outrageously resonant bass-baritone to his role as Don Basilio."  Ratzlaff, Opera News

The Lighthouse

"Cushing’s hymn-type of delivery of “Arthur’s Song” reveled in father-like resonances, rich, deep, yet crystal clear."  -Boston Musical Intelligencer.  

"The role of Arthur, with its apocalyptic pronouncements, was well served by David Cushing’s piercing, dramatic bass-baritone."  -Boston Classical Review

"...bass-baritone David Cushing, whose voice seems to grow and grow more resonant each time I hear him, is the religious fanatic who’s probably most responsible for bringing them all to their tragic end." -Boston Phoenix

"...confident performance..."  -New York Times

"...strong ensemble cast..." - Boston Globe

"It was great to see David Cushing, who audiences saw earlier this season in the role of the doctor in BLO’s Macbeth, take a more substantial role. The incredible depth of his voice made his “devout” Arthur so unnerving." - examiner.com

" Bass David Cushing in particular sounded wonderful" -The Hub Review

Le Nozze di Figaro

…David Cushing had a sensitive and sensual masculinity vocally and theatrically as Figaro.”   Times Argus

“..In particular, my attention shifted…to Figaro, sung with flair by baritone David Cushing…who brings out Figaro’s robust virility in an equally robust bass-baritone.”  Valley News

~"The instant Cushing and Bird sang, the audience knew that they were in for a night of entertainment of the highest caliber, perhaps even a night bordering on musical divinity. Cushing's brilliantly stunning vocal timbre with its ability to embrace both full blown bass baritone bravado passages as well as beautifully heartfelt falsetto renderings proved him to be a supreme vocal navigator. Throughout the evening's performance Mr. Cushing's Figaro certainly demonstrated the versatile talents of a gifted singer with an incredibly artful sense of comedic timing throughout lyrical passages as well as recitative sections. Cushing's ability to share spontaneous moments of spoken declamations in proper Italian vernacular on occasion served as believable "filler" during scene change entrances and exits. One could say that Cushing, like his character, was able to complete many tasks and to think on his feet at a moment's notice!
Undoubtedly, Cushing is one of the finest Figaro's to grace the stage!"  -Classical Voice of New England 


 

Past Reviews:

Agrippina

 "David M. Cushing brought a fine-grained, resonant bass voice to the role of Lesbo, the servant who has access to nearly everyone's secrets." -Opera News

Don Giovanni

"Don Giovanni is heavy on the bass roles, most notably Masetto, sung by David Cushing with rich bass overtones."                                                                                    Town Topics

 

Faust

“David Cushing had fun with the role of Mephistopheles…he put plenty of bite and fire into his delivery (the wicked laughs in the Serenade were produced with particular flourish).

                                                                                  Baltimore Sun

 

La Fille du Regiment

"David Cushing’s Sulpice oozed with charm — fatherly and otherwise. His rich bass was matched by the twinkle in his eye."-Idaho Statesman


Abduction from the Seraglio

“And in the most memorable turn, BLO veteran David Cushing was a delightfully pompous Osmin. The high points of the afternoon were his scenes with Pabyan, who ironed a table cloth while bending him to her will with every stroke…”                                                                                    Opera News

 

“...his bathyspheric bass is a marvel, and he put his towering stage presence to gleeful use.”

                                                                                    Boston Globe

 

“Bass David Cushing created a boisterous Osmin, while plunging easily into the nether depths of the male vocal range. His resounding voice is in great condition, and he was quite amusing in the basso buffo role.”          Boston Herald

 

“Though both productions were excellently cast, there were standouts — and surprises — in both cities. The Osmin of Boston favorite David M. Cushing, for example, was nothing short of sensational. Scouts, take note: this young basso sang, rather than merely growling, Osmin's famously low d's and e's — even outclassing the Met's superb Kristinn Sigmundsson in this role.”

                                                                                    Republican-American

 

“Another BU alum, bass-baritone David M. Cushing, was an audience favorite as the comic villain Osmin (his most substantial role with BLO). In tails and amply padded pantaloons, he had fun with director Robinson’s antics, and he negotiated all the sub-basement notes. But Mozart’s music adds dimensions of menace and heartbreak to the stereotype that Cushing never suggested.”                                    Lloyd Schwartz, On (and off) Track

 

“Bass David Cushing created a boisterous Osmin, while plunging easily into the nether depths of the male vocal range. His resounding voice is in great condition, and he was quite amusing in the basso buffo role.”          Ed Tapper, EDGE (Herald online)

 

“David Cushing made Osmin more a figure of fun than menace, but his bathyspheric bass is a marvel, and he put his towering stage presence to gleeful use.”

                                                                                    Matthew Guerrieri, Boston Globe

 

The Siege of Corinth

 

“That leader, Maometto…offers to marry Pamira and bring peace to their peoples. David Cushing gave him a core of steel surrounded by a great deal of warmth -- a modern audience empathizes with him, not with Greeks calling for “the sweetness of an honorable death.”

                                                                                    Washington Post

 

“..the subtler moments of the assignment suited the bass-baritone snugly”

                                                                                    Opera News

 

Midsummer Night’s Dream

 

“The one who stole the show, however, was the donkey: bass, David Cushing, as the hapless entertainer Bottom, the brunt of Puck’s cruel joke.  If there ever was a melting point in this opera, when the audience embraced it and made it their own was whenever Cushing was onstage.  I wondered how his voice would carry through the latex headpiece, and discovered that nothing was going to keep his strong, expressive, humorous performance, or strong bass voice in mystery.  Brilliant is the only way to describe his performance -  and the audience showed their appreciation throughout.”                                                                Opera Online

 

“Perhaps a future Rocco or Daland, David Cushing has a quality bass of such striking resonance...” Opera News

 

“This night belonged to David Cushing as Bottom.  With a true rolling bass a solid stage skills, Cushing proved he is of that rare breed of opera singers that can both sing and act.  His ascension has been rapid: from supporting roles at New England Conservatory to leading ones at BU’s Opera Institute and notable work with Boston Academy of Music and BMOP.  Keep your eyes and ears on Cushing.”           South End News

 

Mikado

 

“In the role of the old Mikado, young David M. Cushing was a sheer delight.  His big, dark voice made much of ‘Let the Punishment Fit the Crime,’ while he used his Kabuki makeup, designed by Sondra Nottingham, and long, flowing wig with the smoothness of a born comic.  He gets the grandest of all grand entrances, borne through the theater aisles, then delivers on the promise of grandeur to come.”    The Record

 

“Grandeur and comic villainy mix in the characters of the Mikado, played in Kabuki style by bass-baritone David M. Cushing.  The Mikado is formidable, a kimonoed giant with lengths of silky gray hair that swing when he takes his great strides.  His song, ‘Object All Sublime,’ is a darkly comic marvel.”    The Saratogian

 

“David Cushing, who was unrecognizable as the Mikado.  His big, luscious bass voice, however, was instantly familiar.”                                                                     Post Star

 

“…Cushing brought powerful vocal and dramatic performances to the show.  Cushing’s booming delivery of “Let the Punishment Fit the Crime” was the vocal highlight of the second half.”

                                                                                    The Daily Gazette

 

Romeo et Juliette

 

“The other most complete performance of the evening came from rich-voiced bass David Cushing as Friar Lawerence.  His portrayal of the priest as a young, somewhat sadly sober fellow rather than a stern, grandfatherly type added a special poignancy to his scenes with the lovers.”

                                                                                    Boston Herald

 

“There was another outstanding performance from bass David Cushing as Frere Laurent, commanding in tone, sympathetic in presence”                                             Boston Globe

 

Don Pasquale

 

“Boston opera lovers already know Cushing possesses a beautiful bass.  But 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.”           Boston Herald

 

Lucia di Lammermoor

“David M. Cushing hurls out his voluminous bass as the chaplain”

                                                                                    Boston Globe

 

“Bass David M. Cushing (Raymond) gave good vocal and dramatic value.”

                                                                                    Boston Phoenix

 

“David M. Cushing has a good, rich bass timbre…”

                                                                                    EdgeBoston.com

 

“...he handles it with authority and influence, and his voice resonates throughout the hall with a rich, impressive bass.”

                                                                                    Tuftsdaily.com

 

Albert Herring

 

“David M. Cushing brought an ample, rolling bass and comic skills to the police superintendent…”  Boston Globe

 

“David Cushing unleashed a powerful bass as the policeman…”

                                                                                    Boston Globe

 

Flight (Immigration Officer)

“Lastly, Bass David Cushing, whom I have seen in other roles, delivered this role with his usually ease, even if the part only called for small role singing.”

                                                                                    Opera Online

 

Idomeneo

“David Cushing sounded imposing as the off-stage voice of Neptune.”

                                                                                    Boston Globe

 

Le Nozze di Figaro

“The inexhaustible bass-baritone David Cushing sang the role of Figaro and, as in other productions, proved he has a happy talent for not only mastering a role, but absorbing it into his being when he takes it on.  His voice was very strong throughout, but not just strong, for strong without expressiveness is little more than yelling and this fine singer doesn’t need to yell.  He has good command of the full range and when he sings, that range and depth surfaces.  He was captivating in this role.”                                        Opera Online

 

“The leading roles of Figaro and Susanna were played my David Cushing and Heather Parker, who both acted and sang their roles to perfection.”                                             Concord Monitor

 

Little Prince

“David M. Cushing’s rich bass has no problem negotiating the low Ds’ in his role as the King.”

                                                                                     WBUR Radio

 

“Outstanding David M. Cushing growls away at the bottom of his range as the King.”

                                                                                    Boston Globe

 

“…outrageously funny (and inspired) as singers David M. Cushing, uniformly excellent”

                                                                                    Boston Herald

 

“...and bottomless bass David Cushing (The King)  also excelled both as four hunters, whose rifles were startlingly  phallic for a children’s work, and four Baobab trees in green body Slinkys.” Boston Phoenix

 

Tosca

 

“David M. Cushing summoned some impressive tones to the prison escapee Angelotti.”

                                                                                    Boston Globe

 

“Some of the best singing is by Bass David M. Cushing in the small part of the political escapee, Angelotti, though with all of his racing around the stage, it’s hard to believe him when he says he’s too tired to take another step.” Boston Phoenix

 

La Cenerentola

 

“His voice was beautifully controlled, his technique impeccable.”

                                                                                    Glens Falls Post

 

“Alidoro, sung with dignity and generosity by bass-baritone David Cushing.”

                                                                                    The Saratogian

 

“This production has two fine bass-baritonesYDavid Cushing, who sings Alidoro, the make-it-happen guy in the opera.”                                                                         Schenectady Gazette

 

Thais

 

“David M. Cushing poured out stern warnings in rolling bass tones as the senior monk...”

                                                                                    Boston Globe

 

The Village Store Verbatim

 

“The highlight of the show, however, is commanding baritone David Cushing in the role his teacher, David Ripley, sang.  Cushing, who grew up on Cape Cod, has an unusually well-developed instrument for someone of his age.  Now in his senior year, he plans to go on to graduate study in voice.  With acceptance in the right school, good showings in vocal competitions and proper care of his voice, he could go to the top.  Those who hear him next weekend may one day say, ‘I remember when.’”                                     Boston Globe

 

In concert:

 

Beethoven’s 9th (bass solo)

 

“Dynamite...especially once bass David Cushing was called upon to ‘interrupt’ the proceedings-something he did with spine-tingling resonance.”                                            Boston Herald

 

Haydn Lord Nelson Mass (soloist)

 

“An impressive solo quartet. At the opposite end of the tessitura spectrum, bass David Cushing delivered a potent and compelling ‘Qui Tollis’.  Arresting and lush...”

                                                                                    The Republican

 

Wagner- Marathon recital (soloist)

 

“David Cushing, who sang the Hollander with great care, is a bass-baritone to watch.  His big, sonorous voice might prepare him for Wotan some day.”

                                                                                    Online review