Eric Fennell
Tenor
Press Reviews
December 2005 Opera Now magazine
"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."
--Karyl Charma Lynn, Opera Now
La Bohème: Lake George Opera
"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."
--Doug de Lisle, The Troy Record
"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."
--Geraldine Freedman, The Daily Gazette
Lakmé: Sarasota Opera
"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."
--American Record Guide
"The tenor, Eric Fennell (Gerald) 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)"
--Opera Actual, Barcelona
"Another delight of the evening was the tenor, Eric Fennell, in the role of Gerald. 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)
--L'Opera, Italy
Roméo et Juliette: Opera North (NH)
"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."
--Opera News
"Eric Fennell was the embodiment of Romeo, displaying an achingly beautiful voice, which overflowed with rapture and sensuousness."
--Opera News
"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."
--Opera Online
Rigoletto: Chattanooga Opera
"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."
--Mel R. Wilhoit, Chattanooga Free Press
Lucia di Lammermoor: Des Moines Metro Opera
"...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."
--The Des Moines Register
Die Zauberflöte: Des Moines Metro Opera
"Eric Fennell was quite a good Tamino, providing the required balance of lyricism and ring..."
--Mark Thomas Ketterson, Opera News
Carmen: Arizona Opera
"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."
--Arizona Daily Star