"Singing with a lyrical, golden sheen, he too conquers Donizetti's
"Greatest praise, however, is reserved for Eric Fennell in the title role. He brings Tony Caruso to life. Fennell's charismatic interpretation puts us directly in contact with Tony's soul. One winces at Tony's painful expressions of failure, one feels sorrow over 'what might have been' in his heroic duets with the ghosts. Fennell's characterization lingers on in the listener's memory." Read the full article here.
"Tenor Eric Fennell is sympathetic and ardent as Don José...He impresses most where the most is demanded of him (the long Act 2 duet with Carmen, for instance, and the final scene)."
"Tenor Eric Fennell’s Don José delivered the goods vocally..."
"...Annett Fritchs säuselnder Soubrette Valencienne und dem Tenorbuffo Eric Fennell (Rosillon) - sondern einem innigen Männerduo."
"... Annett Fritch's whispering soubrette Valencienne and the comic tenor Eric Fennell (Rosillon) made an intimate couple."
"...Annett Fritsch (Valencienne) bildet einen charmanten Kontrast zum schmalzigen Tonfilm-Tenor von Eric Fennell."
"...Annett Fritsch (Valencienne) created a charming contrast to the sentimental "talking-pictures" style tenor of Eric Fennell."
"..dem höhenstarken Eric Fennell als Rosillon..."
"...powerful high singing [of] Eric Fennell as Rosillon..."
"...Eric Fennell als Rosillon auf triefenden Tenorschmalz baut."
"... Eric Fennell as Rosillon created an drippingly sentimental tenor."
"Pinkerton (Eric Fennell) not only succeeded brilliantly as the well-meaning but thoughtless American, but actually looked every inch the handsome young Navy officer that stole Cio-Cio San's heart. It didn't take any effort to believe that this was a couple that belonged together forever. Their voices matched as well. His tenor could only be described as full, with a richness that was a joy to behold. "
"Eric Fennell sings the callow Sam in an appropriately sweet tenor that easily blossoms into a more forceful outpouring or subsides into a winsome murmur."
"One of the most difficult challenges for tenors is to resist the temptation to sing French roles with heart-felt Italian passion, instead of the sublime sensuality more suited to the French vocal line. But last summer, I was lucky enough to hear Eric Fennell, a young American singer, essay Roméo from Gounod's Roméo et Juliette at Opera North (USA). His golden voice possessed the ideal tonal quality for the French repertory. Recently he was Gerald in Lakmé and Eneas in Esclarmonde. A Don José is in preparation with the Arizona Opera. But his repertory isn't limited to French roles, as he channels his unique sound into unbridled passion for Italian characters, with an upcoming Pinkerton at the Austin Lyric Opera. His dynamic range, broad palette, intelligent interpretation, and musical acumen, combined with a secure high register, make him a tenor to be reckoned with."
"Eric Fennell's lyric tenor is freely produced, and he creates an endearing Rodolfo. The voice has genuine 'ping' and a high 'C' to die for, but he never stoops to tenorial strutting."
"Tenor Eric Fennell as Rodolfo impressed immediately with [his] ringing tones, smooth delivery and easy chemistry...Fennell projected well-finished and musical phrases and soared with strong top notes."
"Fennell's lusciously sweet voice, with its ringing, perfectly-tuned high notes, made him the ideal Rodolfo."
"With the resplendent vocalism of Eric Fennell one felt that Gérald might be forgiven for the error of his ways. His pure silvery voice has just the right kind of sound for this French repertory. With so many light tenors sounding strangulated as they reach their upper limits, it was refreshing to sit back and enjoy some fine vocal production."
"The tenor, Eric Fennell (Gérald) was another of this evening's surprises. He sang with more flexibility and projection than other tenors in this role. He had an absolute freshness to his phrasing. His aria, 'Fantaisie aux divins mensonges,' was rewarded with a strong ovation. Tall and good looking, he is an artist whose development should be followed closely." (translated from Spanish)
"Another delight of the evening was the tenor, Eric Fennell, in the role of Gérald. He has such a unique melancholy timbre that every tenor who sings this role fails to accomplish. Rather, he has a fresh light color that is used with a gentle singing line in a delicate style. He has no difficulty with the high register, which demonstrates in his elegant aria: 'Fantaisie aux divins mensonges.'" (translated from Italian)
"The tall, secure-voiced Fennell had done his homework linguistically and made an impression with a wide dynamic palette, from well-sustained pianos to a ringing high C in 'O jour de deuil.' Fennell shows much promise for Werther and (eventually) the Berlioz heroes."
"Eric Fennell was the embodiment of Romeo, displaying an achingly beautiful voice, which overflowed with rapture and sensuousness."
"Tenor Eric Fennell delivered his Romeo with gusto, passion and a marvelous lyric tenor voice that accomplished something I have never seen—applause from the conductor after one particularly challenging and emotionally moving aria. Fennell's voice was smooth and...he presented a convincing and commanding presence when on stage."
"Then there's the testosterone-crazed Duke, played by Eric Fennell who looks like an Italian Stallion before they even put the make-up on. You won't have to use any imagination to believe that this tall, dark, and handsome leading man could wow any lady he chose. And if you get tired of looking at him, you might listen to his ringing tenor voice and revel in the glorious gusto he brings to the role."
"...tenor, Eric Fennell makes for a strong and noteworthy Edgardo, Lucia's equally ill-fated suitor. Singing with a lyrical, golden sheen, he too conquers Donizetti's complexities with such ease that they become the psychological signposts they were intended to be, not mere virtuosic display."
"Eric Fennell was quite a good Tamino, providing the required balance of lyricism and ring..."
"Eric Fennell [as] Don José.was able to make his desire for Carmen believable, and his voice carried the tenderness, longing and blind rage that (Carmen) inspired."
© 2007-present, Eric Fennell. All rights reserved. Last updated
January 17, 2013.