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Reviews and Interviews

"Eric Lindsey—detailed and human as the Sacristan without undue fussiness—unfurled a fat, resonant bass evoking Ezio Flagello."


OPERA NEWS, Nov. 2016-- Vol. 81, No. 5

David Shengold


"That the verbal lovemaking [between Cavaradossi and Tosca] is taking place in a church is tickling, except to the fussy and disapproving sacristan, played well and comically by Eric Lindsey, hoping that the Madonna 'is forgiving.' His character could have been one of the nuns at my high school dances."




"I'd be remiss not to mention Eric Lindsey, as Figaro, whose richly developed and rounded bass-baritone fully embraced the fine balance of superb singing and involved comic awareness. His every moment on stage was savored and enjoyed for its fullness and appropriateness. Lindsey has the musical and movement makings of the likes of a Samuel Ramey or Bryn Terfel and is a singer to watch."


John Shulson

"Eric Lindsey was stellar as Calchas ... with his stentorian bass-baritone and wicked humor."


Jim Lowe

"Eric Lindsey, as Grenvil, whose all-too-brief moments offered a luxurious bass-baritone of such quality you wanted to hear lots more"

VIRGINIA GAZETTE September 14, 2018

John Shulson

"I was extremely impressed with [Eric Lindsey's] distinctively beautiful bass voice"

VOCE DI MECHE December 3, 2018

By guest reviewer Ellen Godfrey


"Eric Lindsey as King Hjalmar. The thunderous power of his voice amplified his regality, but he was also able to tone it down enough to display the king’s frailty and ultimate regret at what his folly had wrought."

OPERAWIRE August 21, 2019

Chris Ruel

"Bass-baritone Eric Lindsey...has a dynamite, wow voice that commands attention in quality and delivery...a real find and a keeper."

VIRGINIA GAZETTE September 10, 2019

John Shulson

"Mr. Lindsey was effectively an officious father and a funny Somnus.  I especially appreciated the beautiful tone of his voice in the slow singing as Somnus."

OPERAGENE June 25 2023

"Bass Eric Lindsey, following Handel’s other double-casting from the premiere, was hilarious as both the irritated Cadmus, who sees his daughter’s wedding ruined, and as Somnus, the god of sleep who helps Juno access Semele’s hiding place"

Washington Classical Review June 26, 2023

Charles T. Downey

"Bass Eric Lindsey’s dark-hued take on the Commendatore complemented the comic skills he displayed in Semele"

Washington Classical Review August 12, 2023

Charles T. Downey

"the imposing bass of Eric Lindsey--whose impressive vocality molded the High Priest into a forbidding, authoritarian, chilling figure--made for hair-raising drama."

Woman Around Town, posted November 1, 2023 in Playing Around

Maria-Christina Necula

"The extent to which the rôle of il sommo Sacerdote, the irascible guardian of the sanctity of the temple of Vesta, fell victim to the pruning to which Spontini’s score was subjected in Teatro Grattacielo’s performance of La vestale seemed especially injurious with a singer of the exceptional caliber exemplified by bass Eric Lindsey interpreting the part. The character’s commanding ‘Ormai cessi il tripudio’ in the Act One finale was unfortunately suppressed, reducing him to a figure who was seen but not heard in the opera’s first act. When Lindsey’s voice was unleashed in Act Two, the Sacerdote’s authority thundered thrillingly. He sang ‘Grida vendetta il cielo contro la coppia’ explosively and launched the Act Two finale with an anguished ‘Oh delitto!’ before voicing ‘O perfida ministra’ with sonorous solemnity. In the Act Three duetto with Licinio, Lindsey sang ‘Tal’è il voler de’ Numi’ fervently, revealing the psychological toll of inviolable duty. The voice shimmered with relief in an account of ‘Olà, tutti fermate spettacol di contento!’ that exhibited the insightfulness of his portrayal, Lindsey’s vocal assurance elucidating the subtleties of his use of words."

Voix des Arts November 8, 2023

Joseph Newsome

Photo credit: Karen Rooker,

Rooker Photography

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