is “making an impressive mark” on opera and concert stages “with a clear timbre, evenness of projection and exceptional sensitivity.”
Current & Future Engagements
Highlights of the 2015/16 season
Pinkerton Madama Butterfly for the Florentine Opera Company, Lensky Eugene Onegin for the North Carolina Opera, Beethoven’s Missa Solemnis for Orchestra Iowa, Beethoven’s Symphony No. 9 for Utah Symphony, Cassio Otello as well as the featured soloist on Minnesota Orchestra’s concert Inside the Classics, Prince Hal At the Boar’s Head for the Beethoven Easter Festival in Warsaw, Mozart's Requiem and Mass in C-minor with the Jerusalem Symphony Orchestra and Israeli Opera, and opera concerts with both the Indianapolis Opera and Jacksonville Symphony.
Recent operatic highlights
- Nemorino L’elisir d’amore and Alfredo La traviata for Shreveport Opera
- Edgardo Lucia di Lammermoor, Rodolfo La bohème and Duke of Mantua Rigoletto for Amarillo Opera
- Arbace Ciro in Babilonia at the Caramoor Music Festival
- The title role in Rossini’s Otello and Tito La clemenza di Tito for Opera in the Heights
- Jenik The Bartered Bride and Lyonel Martha for Boston Midsummer Opera
- Eginhard Fierrabras for Bard Summerscape
- Tom Rakewell The Rake’s Progress, Anthony Hope Sweeney Todd and Florindo Le donne curiose for Wolf Trap Opera
- Don Ottavio Don Giovanni for Opera Memphis
Recent concert highlights
Noteworthy concert appearances include the east coast premiere of Dame Ethel Smyth’s Mass in D at Carnegie Hall, Beethoven's Symphony No. 9 with the Indianapolis Symphony Orchestra, Madison Symphony Orchestra, and Arkansas Symphony Orchestra, Mozart's Requiem at Washington National Cathedral and on tour with the Munich Symphony, Handel Messiah with Winston Salem Symphony and New Choral Society, Verdi's Messa da Requiem with Indianapolis Symphony Orchestra, and Bernstein's Wonderful Town with the Orchestra Sinfonica di Milano Giuseppe Verdi in Milan.
He has a close association with the Beethoven Easter Festival and the Polish Radio Orchestra in Warsaw, where he has sung and recorded Don Luigi Maria Padilla, Pylade Iphigénie en Tauride, Avito L’amore dei tre re and Gabriele Adorno Simon Boccanegra, Peter Quint The Turn of the Screw, Prince Hal in Holst’s At the Boar’s Head as well as Beethoven's Symphony No. 9.
"Her Edgardo was company debutant Eric Barry, a large, beefy tenor with a clear and powerful voice. The two displayed an engaging chemistry, blending well in 'Verrano a te sull'aure.'
It was Barry who delivered the finest singing in this production, along with the most consistently involving characterization. His tenor easily filled the hall, never succumbing to unsteadiness at either end of his range. This was a fine debut, highlighted by a memorable 'Tombe degli avi miei.'" -Opera News (Lucia di Lammermoor, Opera Colorado)
"Eric Barry is already perfect, and he has a long career ahead of him." -Teatr Dia Was (The Turn of the Screw, Beethoven Easter Festival)
“Eric Barry makes a virtue of his bright, clear singing as Quint.” -Gramophone (CD Review: The Turn of the Screw)
"Singing the Prologue and Peter Quint, Eric Barry offers a clean, clear tenor, free lyricism and excellent diction; he finds an unearthly and haunting quality for his melismatic summons to Miles in the nocturnal garden." -Opera Magazine (CD Review: The Turn of the Screw)
"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 Music (Eugene Onegin, North Carolina Opera)
"Lensky was tenor Eric Barry, who made a consistently favorable impression, scoring big in his several crucial arias." -CVNC Online Arts Journal (Eugene Onegin, North Carolina Opera)
"When first-string tenor David Lomeli withdrew for undisclosed reasons, Mr. Barry was tasked with three additional performances, including opening night on Saturday. But Mr. Barry deserves kudos for a solid, if not particularly revelatory, performance. La Boheme 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 (La bohème, Pittsburgh Opera)
Eric Barry is originally from the small oil town of Sundown, TX. Like most kids from small towns he dabbled in most activities the school had to offer, but found most of his initial success in band (the school was too small to support a choir program.) When attending college he decided to join the marching band at West Texas A&M University while studying business, and soon found out he had a talent for singing as well. The local performing arts organizations generously offered him some professional performing experience, and while pursuing his MBA he eventually made the choice to pursue opera performance full-time.
This decision required a move to New York where he began studying vocal performance full time. After a year of study he was offered a full scholarship to pursue his Master’s degree and Artist Diploma at Yale University’s School of Music. Since then he has been featured in the PBS documentary Eric Barry: Home for Christmas and has recorded seven commercial opera albums which have been aired on both NPR and the BBC. He has won numerous awards and competitions, and in his spare time he’s a sponsored Pro-Am golfer with Mizuno Golf with whom he most recently won the Turkish Airlines World Cup tournament in Washington D.C. For more information, please visit www.eric-barry.com.