Vocalist - Baritone
Don Giovanni

"An elegant, legato-based singer with clear, meaningful textual projection and a true actor’s palate of facial expression, Cutlip tirelessly enacted a power-obsessed man at midpoint between sexy bad boy and aging roué."

David Shengold, Opera News
The Road of Promise – Collegiate Chorale at Carnegie Hall

“Baritone Philip Cutlip offered a solid core of sound and a strong stage presence in the roles of Joseph, Solomon, and Jeremiah.”

Eric Myers, Opera News
‘The Road of Promise,’ Warning to All About Jews in Germany

“Philip Cutlip … performed with dramatic nuance as Joseph, Solomon and Jeremiah.”

Vivien Schweitzer, New York Times
Weill’s “The Road Of Promise” – Collegiate Chorale at Carnegie Hall

“Philip Cutlip truly stood out, commanding authority with his cavernous baritone, particularly in his passionate portrayal of the prophet Jeremiah.”

Eric C. Simpson, New York Classical Review
Le Nozze Di Figaro - Sarasota Opera

“Philip Cutlip … was a lively and characterful presence throughout with a vehement account of Figaro’s Act IV aria on the perfidy of women.”

Lawrence A. Johnson, South Florida Classical Review
'Marriage of Figaro' at Sarasota Opera

“Philip Cutlip as Figaro never faltered, and his well-balanced baritone and magnetism made him a lovable, clever (though occasionally duped) groom-to-be.”

June LeBell, Your Observer
'Figaro' a terrific Valentine

“The events that lead to his conversion are chaotic, to put it mildly, as plots by the Count’s employees Figaro, a vocally and acrobatically splendid Philip Cutlip, and his fiancée, Susanna, in a saucy and soaring portrayal by Maeve Hoglund.”

Richard Storm, Sarasota Herald-Tribune
'Die Fledermaus' gets a perfectly light touch

“Baritone Philip Cutlip was an eminently enjoyable Eisenstein (the party-ready husband), bouncing about with endearing energy and a becoming boyishness.”

Rob Hubbard, Pioneer Press
Music of the Baroque provides a winning night of Bach and Handel "Italian" style

“Philip Cutlip as Apollo stole the show and the evening.... Cutlip’s full-blooded characterization offered a virtual seminar in making stiff Baroque archetypes come to fizzing life, the singer even searching for the elusive Dafne among the orchestra’s ranks. Cutlip segued from boastful frat boy in his opening aria (‘Spezza l’arco e getta l’armi’), to being enamored by the sound of Dafne’s voice, to half-crazed romantic frenzy in the rapid-fire Gilbert and Sullivan-like duet, ‘Una guerra ho denttro il seno.’ The baritone sang the devastated Apollo’s melancholy final aria, ‘Cara pianta, co’ miei pianti,’ with great depth of feeling.”

Lawrence A. Johnson, Chicago Classical Review
Just in time for Christmas: Philharmonia Baroque Orchestra at Cal Performances
"Also of note, was the stellar Philip Cutlip. Cutlip is a world-class talent, whose deep voice has an unexpected range. Expressive and strong, his voice worked well, even over the trumpets in the 'The Trumpet shall sound' air."
Cy Ashley Webb, Stark Insider
Opera Grand Rapids' powerful performance of 'A Streetcar Named Desire' opens season
“Baritone Philip Cutlip has a convincing voice for the loose cannon that Stanley is. He’s blessed with an ample voice befitting a force of nature on a perpetual low simmer, except for those times he's exploding.”
Jeffrey Kaczmarczyk, Grand Rapids Press
Fort Worth Symphony shines in season finale
“Of the three soloists, the most impressive was baritone Philip Cutlip, who has an attractive lyric voice and the ability to shade his sound impressively.”
Olin Chism, Fort Worth Star-Telegram
Toledo Opera sassy and sparkling in stylish production of 'Don Giovanni'
“Action there was, to be sure, as Giovanni, played with a youthful swagger by baritone Philip Cutlip, blazed a trail through the women of far and wide, leaving their men frustrated and scrapping among themselves. With a rich voice, expressive delivery, and authoritative stage presence, Cutlip created a Teflon Don who dominated most scenes he appeared in, even as the target of accusation and recrimination.”
Sally Valongo, Toledo Blade
Die Fledermaus
“Baritone Philip Cutlip was delightful as Falke’s philandering friend Eisenstein.”
M.D. Ridge, WHRO
PBO closes 2011-2012 season with a feast
"The treatment of the arias was spellbinding.... The ferocity of Cutlip's ‘Revenge, revenge, Timotheus cries' gave the second half an intensity not found earlier in the evening."
Cy Ashley Webb, Stark Insider
Review: Philharmonia Baroque delivers another polished gem from Handel in 'Alexander's Feast'
"Cutlip handled the ‘Revenge' aria with robust muscularity."
Georgia Rowe, San Jose Mercury-News
"Philip Cutlip, a very fine lyric baritone...."
David Shengold, Gay City News
Tenors on the march
"The strong cast seemed fully on board with Mr Alden's vision. Philip Cutlip, a baritone, was an earnest Guglielmo."
The Economist
"Philip Cutlip projects Guglielmo's jealous humors vividly but always within stylish Mozartean boundaries."
Peter G. Davis, Musical America
Alden's bleak, fascinating staging of Mozart's 'Cosi fan tutte' at New York City Opera
"Philip Cutlip [was] an earnest, conflicted Guglielmo."
Ronald Blum, Associated Press
New York City Opera gets it right with provocative, excellently cast "Cosi"
"Cutlip sang seductively in his duet with Holloway [Dorabella]."
Ronni Reich, New Jersey Star-Ledger
Strolling in the Park, Succumbing to Temptation
"The hardy baritone Philip Cutlip, as Guglielmo, is the more impulsive of the two. In their first utterances, in which they praise the fidelity of their girlfriends, they tease out the conflicting emotions in the music rather than filling Mozart's lines with the typical bluster."
Anthony Tommasini, New York Times
Travels to the Far Corners of the Canon
"Philip Cutlip, a baritone, brought a robust voice and substantial charisma to the role of Splendiano."
Steve Smith, New York Times
Review: Philharmonia Baroque Orchestra, Mark Morris
"Philip Cutlip brought his velvety baritone to Aeneas."
Allan Ulrich, San Francisco Chronicle
Vital and Energetic Performance of Purcell's Dido and Aeneas
"Baritone Philip Cutlip (Aeneas) handled his assignment with aplomb and the Philharmonia Baroque chorus distinguished itself with crisp, idiomatic singing."
Harvey Steiman, Seen and Heard International
"Philip Cutlip's boyish Papageno was a splendidly comic, deeply sympathetic character. His voice is endearing, and he used it in a masterly way."
John F. Hulcoop, Opera News
A burst of orchestral light
"The rough-hewn baritone of Philip Cutlip contrasted nicely with the refined sound of the chorale."
William Randall Beard, Minneapolis Star-Tribune
Dead Man Walking - Houston Grand Opera
"Baritone Philip Cutlip, muscled and tattooed as the convicted murderer Joseph De Rocher, was a convincing monster of a hardened criminal who is transformed in his final moments, vulnerable and repentant, under Sister Helen's counsel."
Gregory Barnett, Opera News
Houston Opera Still Embraces Bold Ventures
"The baritone Philip Cutlip exuded virile swagger and self-pity in a rich role debut as the convicted killer Joseph De Rocher."
Steve Smith, New York Times
Dead Man Walking is a landmark American opera, but is it a great one? Stellar Houston cast answers.
"The cast is stunning and committed throughout, reason alone not to miss this production. Philip Cutlip has likely the most difficult, unforgiving character of his career as the murderer De Rocher. He has to sing shackled in chains, smoke cigarettes, do push-ups in his cell (with hand-claps in between), and bend over so that guards can put on an adult diaper in preparation for his execution. Cutlip even inflected his performance with a Louisiana accent, and his singing was clear, bright, insistent and vulnerable all at once."
Theodore Bale, Culture Map (Houston)
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