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“Bottom’s Dream,” Britten’s A Midsummer Night’s Dream

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“Catalogue Aria,” Mozart’s Don Giovanni

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Beethoven’s Symphony No. 9


“Bottom’s Dream,” Britten’s A Midsummer Night’s Dream


“Catalogue Aria,” Mozart’s Don Giovanni


Beethoven’s Symphony No. 9

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David Cushing

Bass-Baritone

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, the Boston 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 Angelotti in Tosca and Donald in The Nefarious, Immoral But Highly Profitable Enterprise of Mr. Burke & Mr. Hare, sings the title role of Don Pasquale with Bar Harbor Music Festival, performs Banquo in Macbeth and reprises the role of Basilio in Il barbiere di Siviglia with Opera Tampa, Sun Tze in the world première of Rev. 23 with White Snake Projects, and Tiresias in Stravinsky’s Oedipus Rex with Emmanuel Music.

Jul
2017

Jul-09
“He said, She said” Pops Concert
Soloist
Bar Harbor Music Festival
Bar Harbor, ME
Jul-21
Don Pasquale
Don Pasquale
Bar Harbor Music Festival
Bar Harbor, ME
Sep
2017

Sep-29
to
Oct-01
Rev 23
Sun Tze
White Snake Projects
Boston, MA
Oct
2017

Oct-13
to
Oct-22
Tosca
Angelotti
Boston Lyric Opera
Boston, MA
Nov
2017

Nov-08
to
Nov-12
The Nefarious, Immoral But Highly Profitable Enterprise of Mr. Burke & Mr. Hare
Donald
Boston Lyric Opera
Boston, MA
Feb
2018

Feb-02
to
Feb-04
The Barber of Seville
Basilio
Opera Tampa
Tampa, FL
Feb-23
Stravinsky Oedipus Rex
Soloist
Emmanuel Music
Boston, MA
Apr
2018

Apr-13
to
Apr-15
Macbeth
Banco
Opera Tampa
Tampa, FL
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…dominated the stage vocally…
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.” The Boston Musical Intelligence
…incredibly artful sense of comedic timing…
 Le nozze di Figaro “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
…a beautiful bass…
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
…spine-tingling resonance…
Beethoven’s Symphony No. 9 – “Dynamite, especially once bass David Cushing was called upon to ‘interrupt’ the proceedings something he did with spine-tingling resonance.” Boston Herald
…sonorous voice, snappy diction, and versatile facial expressions…
Der Rosenkavelier – “Local bass 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.”  Boston Globe

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, the Boston 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 Angelotti in Tosca and Donald in The Nefarious, Immoral But Highly Profitable Enterprise of Mr. Burke & Mr. Hare, sings the title role of Don Pasquale with Bar Harbor Music Festival, performs Banquo in Macbeth and reprises the role of Basilio in Il barbiere di Siviglia with Opera Tampa, Sun Tze in the world première of Rev. 23 with White Snake Projects, and Tiresias in Stravinsky’s Oedipus Rex with Emmanuel Music.

Last season, Mr. Cushing performed Bartolo in Le nozze de Figaro and Father Trulove in The Rake’s Progress for 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, Adolfo in John Musto’s The Inspector, 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.

Over the past few seasons, Mr. Cushing’s noted engagements have included Tom in Un ballo in maschera, Sprecher in Die Zauberflöte, Sparafucile/Count Monterone in Rigoletto, Leporello in Don Giovanni, and Frère Laurent/Duke in Roméo et Juliette with Opera Tampa; Police Officer in Der Rosenkavalier with Boston Symphony Orchestra; Commendatore/Masetto in Don Giovanni  with the Bar Harbor Music Festival; as a soloist in Glass’s Symphony No. 5 with The Washington Chorus and Trinity Wall Street; 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; and multiple roles with Opera Colorado including Nourabad in Les pêcheurs des perles, The Bonze in Madama Butterfly, Count Horn/Tom in Un ballo in maschera, and Dr. Grenvil in La traviata. Other notable engagements include Sarastro in Die Zauberflöte with Florentine Opera of Milwaukee; Leporello in Don Giovanni with Syracuse Opera; The Bonze in Madama Butterfly with Opera Theatre of St. Louis; Fifth Jew and Cappadocian in Salome with Michigan Opera Theatre; Colline in La bohème with Opera Columbus; Alidoro in La Cenerentola with Lake George Opera; Dr. Dulcamara in L’elisir d’amore and 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 in Tosca with Mill City Summer Opera; Masetto in Don Giovanni with 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 of The Lighthouse. With Boston University’s Opera Institute performances included his début in the title role in Don Pasquale 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’s Stabat Mater, the Brahms Requiem, Fauré Requiem, Mozart Requiem, Haydn’s Lord Nelson Mass, Mozart’s Coronation Mass, Beethoven’s Mass in C, Bruckner’s Te Deum, and Schubert’s Mass in G.

 

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