Critical Acclaim​

Lyric Opera of Chicago, Ariodante

“The most noteworthy solo breakthrough of the production belonged to tenor Ferring – a first-year member of the Ryan Opera Center – as Lurcanio. The bright youthfulness of his instrument and the unyielding ardor of his delivery perfectly suited the character’s impetuousness. Listen to him fervently dispatch “Il tuo sangue, ed il tuo zelo,” and you’re encountering an emerging tenor of considerable promise.”

     -Howard Reich, Chicago Tribune

 
“The evening’s other major find besides Miller was tenor Eric Ferring, who is only in his first year at the Ryan Opera Center and bursting with talent. With his dexterous tenor voice and flair for baroque ornamentation, he made the most of the role of Ariodante’s brother, Lurcanio.”

     -Kyle MacMillan, Chicago Sun-Times

“A first-year Ryan Center member, Eric Ferring made the most of his opportunities as Lurcanio. The Iowa native is a real find, possessing a vibrant tenor with juice and throwing off his showpiece aria, “Il tuo sangue” with impressive fire and agility.”
     -Lawrence A Johnson, Chicago Classical Review

“Tenor Eric Ferring, a first-year member of the Ryan Center, repeatedly threatened to steal the show with his clear, fluent, always expressive singing as Ariodante’s brother Lurcanio.”
     -Lawrence B. Johnson, Chicago On the Aisle

“And the real find of the performance was first-year Ryan Opera Center member Eric Ferring. This young man has a florid, plaintive, juicy tenor that we’re going to hear a lot of in the future. His Lurcanio was a fully formed characterization, sung with style and verve that betrayed his young age. This is a young singer to watch!”
     -Henson Keys, Parterre Box

“And then there is Ariodante’s handsome, good-hearted brother, Lurcanio, Eric Ferring, a rich-voiced tenor and honest actor who easily captures the forthrightness of his character.”
     -Hedy Weiss, WTTW News

“Eric Ferring’s implacable Lurcanio morphs into a one-man vengeance machine.”
     -Lawrence Bommer, Stage and Cinema

“I also enjoyed Eric Ferring as Lurcanio, Ariodante’s brother. A combination of his youthful energy and obvious talent made him ideal for the part.”
     -Kevin Curran, Chicago Theatre Review

“Lurcanio, her admirer, was a full-blooded figure in Eric Ferring’s compelling performance.”
     -Katherine Syer, BachTrack

“Ryan Center tenor Eric Ferring was notable as Ariodante's brother.”
     -Deanna Isaacs, Chicago Reader

Lyric Opera of Chicago, Elektra

"And first-year Ryan Opera Center member Eric Ferring made a stunning and extremely promising debut as Young Servant with his strong, beautifully clear tenor."

      -Barnaby Hughes, Stage and Cinema

 

"Among the smaller roles, first-year Ryan Opera Center member Eric Ferring served notice of an imposing youthful tenor as the Young Servant."

     -Lawrence A. Johnson, Chicago Classical Review

Pittsburgh Opera, Moby Dick

“In [a] secondary role, Eric Ferring (Flask) [was a] standout. The tenor made the most of his vocal opportunities…and provided a moment of brief, comic relief."

     -George B. Parous, Pittsburgh in the Round

"Other standouts include Eric Ferring’s Flask, [who] brings some much-needed relief from the tension of life aboard ship.”

    -John S. Twinam, OperaWire

Pittsburgh Opera, Ashes and Snow (now known as Savage Winter)

“Tenor Eric Ferring gave a tour de force performance as the unnamed protagonist... Ferring was masterful not only in his intensity but also in projecting irony and doubt, even whimsy, as he tries to understand what has happened to him.”

    -Mark Kanny, Classical Voice America

"Eric Ferring, the tormented “Protagonist,” sang the role with a vocal opulence that came as no surprise. The music encompasses his finely burnished and powerful head tones and solid lower register in places and allows for occasional fortissimo and delicately delivered pianissimo passages, but for the most part lies comfortably in the middle and provides many opportunities for the display of his voice at its best. He sang the role with a compelling sympathy and a heart-rending understanding of the complex character – sometimes flat on his back or belly, and once from under a mound of bedclothes. Acting the role relies largely on facial expression and body language, and while it’s difficult to imagine a singer not being nervous during the first undertaking of such a role, it hardly showed. The audience was with him throughout, maintaining the art song recital gatherings’ tradition of total silence until the final note faded away – then burst into hearty applause, cheers and whistles. Mr. Ferring modestly attempted to share the ovation with the composer, director, musicians, and designers, and the crowd politely indulged him, but his was by far the finest achievement of the evening, and his listeners clearly wanted him to know it in no uncertain terms.”

     -George B. Parous, Pittsburgh in the Round

Mr. Ferring’s softer dynamics were wonderfully nuanced. He created his own shades of bitterness with Mr. Cuomo’s music, which moved from gentle lyricism and folk song-like melodies (“Linden Tree” was a highlight) to more aggressive, punctuated lines (”My heart is like a sentinel” was also a standout) and back throughout.  ....his voice was captivating in its subtlety...[and] his physical acting was entirely convincing from the naked (both literally and figuratively, though he dons a pair of briefs soon after) silent scream of his opening moments to the furious rending of his pillows and the ambiguous finale.

     -Jeremy Reynolds, Pittsburgh Post-Gazette

Pittsburgh Opera, The Long Walk

"Eric Ferring, the gifted and reliable tenor, was Ricky, a role that left the listener wanting his part to be larger. We’ll hear a lot more of the young man next month."

     -George B. Parous, Pittsburgh in the Round

Pittsburgh Opera, Le nozze di Figaro
"Eric Ferring used his bright tenor sound and canny stage aptitude to differentiate the two smaller roles of the music teacher Don Basilio and the lawyer Don Curzio."

     -Robert Croan, Pittsburgh Post-Gazette

"There are two tenor roles in the opera (Don Basilio and Don Curzio), each with comparatively little to do, but with both in the hands of Eric Ferring, they took on a prominence that was out of the ordinary."

     -George B. Parous, Pittsburgh in the Round

Pittsburgh Opera, Tosca

“In supporting roles, Eric Ferring’s bright, penetrating tenor was a standout as Scarpia’s henchman Spoletta.”

     -Robert Croan, Pittsburgh Post-Gazette

The Boston Conservatory, Flight

“Eric Ferring’s heroic tenor has an unshakeable core that brings a bold precision and control to his substantial sound.”

     -Sudeep Agarwala, The Boston Musical Intelligencer

The Boston Conservatory, The Rake’s Progress

“Eric Ferring’s Tom Rakewell was likewise powerful and direct, in a part that gave more range to conflicting emotions and a dramatic display of decline, which he conveyed with distinction and subtlety.”

     -Vance R. Koven, The Boston Musical Intelligencer

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