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“O du, mein holder Abendstern,” Wagner’s Tannhäuser

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Eric Greene

Baritone

American baritone Eric Greene, praised for his fine musicianship and resonant baritone voice, is making his mark throughout the world. He made his first foray into Wagnerian repertoire performing the role of Melot in Tristan und Isolde in Concert at El Festival Casals de Puerto Rico in his La Orquesta Sinfónica de Puerto Rico début, subsequently he appeared as Donner in Das Rheingold at Teatro Massimo di Palermo, covered the roles of Donner and Gunther in Seattle Opera’s Der Ring des Nibelungen, and this past spring returned to Opera North UK as Gunther in Gotterdämmerung.

 

Nov
2014

Nov-17
to
Dec-21
Porgy and Bess
Crown
Lyric Opera of Chicago
Chicago, IL
Feb
2015

Feb-06
to
Feb-14
Carmen
Escamillo
Portland Opera
Portland, OR
Apr
2015

Apr-11
to
Apr-25
Between Worlds
Janitor
English National Opera
London, UK
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…warm, well-focused baritone…
Carousel“Eric Greene brought a warm, well-focused bass-baritone to his soul-searching self-analysis, confronting his inner demons. He had found a nice diffidence in ‘If I loved you’, as if aware of the danger he presented, and its reprise in heaven touched a nostalgic chord. He was the archetypal outsider; a portrait in Peter Grimes vein, only better-natured.” -OPERA
…a multifaceted performance…
 Moby Dick - As Queequeg, the cannibal with a heart of gold, Eric Greene puts on a multifaceted performance, and his friendship with Ishmael comes through naturally.” -Washington City Paper 
…proved revelatory…
 Götterdämmerung - “…Eric Greene’s charismatic, caustic-toned Gunther proved revelatory.” -The Guardian 
…powerful and imposing baritone…
Aida - “The emotional heart of the second act, however, wasn’t the love of Aida and Radames, or the resentment of Amneris, but a wonderful scene between Aida and her father, Amonasro, played by the powerful and imposing baritone Eric Greene. For a moment, the father- daughter chemistry broke from the rigid mold of the direction and breathed real life into this stately Egyptian artifact.” -California Chronicle
…rich, full tones…
Così fan tutte - “Eric Greene, whose rich, full tones made Escamillo’s superficiality convincingly attractive.” -The Washington Post
…ferociously charasmatic…
Porgy and Bess - “Baritone Eric Greene was a ferociously charismatic Crown, the wild and vicious drug addict whose crime and punishment drives the opera’s plot.” - Access Atlanta
…finely-textured baritone…
Carousel - “Eric Greene excels as bad-boy Billy Bigelow: Greene has the looks, presence and acting ability to make the audience care about his fate, and his individual and finely textured baritone is an equivalent asset.”The Guardian
…Rich low notes and riniging high ones…
Carmen - “Baritone Eric Greene, as the bullfighter Escamillo, grabbed the stage like an American Idol winner and sang the heck out of the famous “Toreador Song.” Rich low notes and ringing high ones; twirling cape and swaggering attitude: All there.” - Port Folio Weekly
Composer Opera Role
Bellini I Puritani Riccardo
Bizet Carmen Escamillo
Les Pecheurs de Perles Zurga
Britten Billy Budd Billy Budd
Peter Grimes Captain Balstrode
Danielpour Margaret Garner Robert Garner
Donizetti Lucia di Lammermoor Enrico
Dove Life is a Dream Segismundo
Gershwin Porgy & Bess Porgy, Crown
Giordano Andrea Chenier Gerard
Gounod Faust Velentin
Humperdinck Hansel und Gretel Father
Leoncavallo I Pagliacci Silvio, Tonio
Mascagni Cavalleria Rusticana Alfio
Menotti Amahl and the Night Visitors King Melchior
Mozart Le Nozze di Figaro Count
Don Giovanni Don Giovanni
Puccini La Boheme Marcello
Manon Lescaut Lescaut
Madama Butterfly Sharpless
Tosca Scarpia
Saint-Saens Samson et Dalila High Priest
Strauss Elektra Orest
Verdi Falstaff Ford
Il Trovatore Di Luna
Un Ballo in Maschera Renato
La traviata Germont
Aida Amonasro
Don Carlo Rodrigo
Nabucco Nabucco
Wagner Das Rheingold Donner
Gotterdammerung Gunther
Tannhauser Wolfram
Composer Work
Barber Dover Beach
Beethoven Mass in C Major
Ninth Symphony
Brahms Requiem
Britten War Requiem
Copland Old American Song 1 and 2
Danielpour Past time
Fauré Requiem
Gershwin Porgy and Bess Suite
Händel Messiah
Samson
Mahler Rückert-Lieder
Symphony No. 8
Meachum Songs of the Slave
Mendelssohn Elijah
Mozart Mass in C Minor
Requiem
Orff Carmina Burana
Vaughan Williams A Sea Symphony
Dona Nobis Pacem
Five Mystical Songs
Songs of Travel
Verdi Requiem
American baritone Eric Greene, praised for his fine musicianship and resonant baritone voice, is making his mark throughout the world.  He made his first foray into Wagnerian repertoire performing the role of Melot in Tristan und Isolde in Concert at El Festival Casals de Puerto Rico in his La Orquesta Sinfónica de Puerto Rico début, subsequently he appeared as Donner in Das Rheingold at Teatro Massimo di Palermo, covered the roles of Donner and Gunther in Seattle Opera’s Der Ring des Nibelungen, and this past spring returned to Opera North UK as Gunther in Gotterdämmerung.

He also thrilled UK audiences and critics alike as Billy Bigelow in Opera North’s new production of Carousel, with Opera Brittania exclaiming, “The tall, handsome figure of Mr. Greene will command any stage and his smooth, dark and powerful baritone would be equally at home in Opera North’s Ring Cycle,” and stunned in his creation of the leading role of Segismundo in the world première of Jonathan Dove and Alasdair Middleton’s Life is a Dream at Birmingham Opera Company in the United Kingdom. He returned to the company this spring to début another role, that of Prince Ivan Khovansky in Mussorgsky’s unfinished and underperformed historical epic, Khovanshchina.

This season he returns to Lyric Opera of Chicago as Crown in Porgy and Bess and takes a turn as Escamillo in Carmen with Portland Opera. Mr. Greene is also excited to create the role of the Janitor in the world première of English National Opera’s commissioned new opera Between Worlds. This collaboration between director Deborah Warner, composer Tansy Davies, and librettist Nick Drack will take place at the Barbican Theatre in London.

Additional recent engagements included a return to Washington National Opera as Queequeg in Jake Heggie’s Moby Dick; a reprisal of the role of Billy Bigelow in Carousel at the Barbican Centre in London; Porgy and Bess Concert Suite with the Teatro Nacional de São Carlos in Lisbon, Portugal and the Cleveland Orchestra; Crown in Porgy and Bess at The Atlanta Opera; Amonasro in Aïda at Opera Memphis; Germont in La traviata with the Pine Mountain Music Festival; and Escamillo in Carmen with Virginia Opera from which the Washington Post said his “rich, full tones made Escamillo’s superficiality convincingly attractive.”

He first received international acclaim as Jake in Porgy and Bess and saw performances of this role with the Théâtre National de l’Opéra-Comique, the Festival Internacional de Música y Danza de Granada in Spain, Grand Théâtre de la Ville du Luxembourg, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, and Los Angeles Opera.

Previous engagements include Robert Garner in the world première of Richard Danielpour’s Margaret Garner at Michigan Opera Theater, Opera Company of Philadelphia, and Opera Carolina; Peter (the Father) in Humperdinck’s Hänsel und Gretel with Virginia Opera; Ping in Turandot with Opera Company of Philadelphia and Opera Carolina; Sharpless in Madama Butterfly with Eugene Opera; and the baritone soloist in Richard Danielpour’s Pastimeat Northwestern University.

In concert and recital, Mr. Greene recently performed Kirke Mechem’s Songs to the Slave and Ralph Vaughan Williams’ Dona nobis pacem with the Bel Canto Chorus in Milwaukee, an All-Gershwin Concert with the Rackman Symphony Choir, and a 25th anniversary concert entitled Festivals, Parties and Celebrations with Santa Belle Music Festival. He also performed in countries including Australia, Fiji, Manila, Guam, Hong Kong, Soloman Islands, Virgin Islands, and with Manny Fox in Puerto Rico. He was the winner in the Leontyne Price Vocal Competition in Maryland, the first place winner in Rosa Ponselle’s All Marylanders Competition, the first place in the NAACP ACT-SO competition, and was awarded the Gluck Foundation scholarship.

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