Philip Cutlip has garnered consistent critical acclaim for his performances across North America and Europe. Established on both concert and opera stages, he has performed with a distinguished list of conductors that includes Nicholas McGegan, Charles Dutoit, Miguel Harth-Bedoya, Osmo Vänskä, and Donald Runnicles. His appearance as Joseph De Rocher in Heggie’s Dead Man Walking, with Houston Grand Opera, has been released on Virgin Records. His engagements in the 2016-17 season include Don Alfonso in Così fan tutte with Opera Omaha, Messiah with Minnesota Orchestra, Carmina Burana with National Philharmonic, Beethoven’s Symphony No. 9 with Portland Symphony Orchestra, and Mozart’s Mass in C minor and Bruckner’s Te Deum with Oratorio Society of New York.
Recent engagements include the title role in Don Giovanni with New York City’s Venture Opera and Toledo Opera; the title role in Sweeney Todd with Tri-Cities Opera; the title role in Le nozze di Figaro with Sarasota Opera and Jacksonville Symphony Orchestra; Haydn’s Lord Nelson Mass and the New York premiere of Merryman’s Jonah with Oratorio Society of New York at Carnegie Hall; Mozart’s Mass in C minor with Jacksonville Symphony Orchestra; Ein deutsches Requiem with Winston-Salem Symphony and Spokane Symphony; Elijah with New York City’s Grace Church and Phoenix Symphony; Jeremiah/Joseph/Solomon in Weill’s The Road of Promise with New York’s Collegiate Chorale; Vaughn Williams’ A Sea Symphony with Modesto Symphony Orchestra; Stanley in Previn’s A Streetcar Named Desire with Opera Grand Rapids; Handel’s Apollo e Dafne with Chicago’s Music of the Baroque; and Bach’s Christmas Oratorio with North Carolina Symphony.
Mr. Cutlip’s opera highlights include the title role in Glass’ Orphée with Glimmerglass Opera and Portland Opera (CD Orange Mountain label); Maurice Bendix in The End of the Affair, Papageno in Die Zauberflöte, and Enrico in Lucia di Lammermoor with Seattle Opera; Guglielmo in Così fan tutte withNew York City Opera; Eisenstein in Die Fledermaus with Virginia Opera and Minnesota Orchestra; Aeneas in Dido and Aeneas with Philharmonia Baroque Orchestra and Mark Morris Dance Group; Zurga in Les pêcheurs de perles with Minnesota Opera; Tarquinius in The Rape of Lucretia with Toledo Opera; Il Conte in Le nozze di Figaro with Utah Opera; Zoroastro in Handel’s Orlando with Moscow State Symphony Orchestra; and Achilla in Giulio Cesare with Gran Teatre del Liceu.
Further concert credits include performances with New York Philharmonic, National Symphony Orchestra, Houston Symphony, and Atlanta Symphony Orchestra. Mr. Cutlip has performed Messiah with Minnesota Orchestra, Philadelphia Orchestra, Pittsburgh Symphony Orchestra under Manfred Honeck, and Philharmonia Baroque Orchestra under Nicholas McGegan; de Falla’s Suite from Atlantida (in Catalan) with Boston Symphony Orchestra; Carmina Burana with Detroit Symphony Orchestra, Fort Worth Symphony Orchestra, and Chautauqua Festival; Beethoven's Symphony No. 9 with Philadelphia Orchestra, and Minnesota Orchestra under Osmo Vanska; Haydn’s The Seasons with Saint Paul Chamber Orchestra and Philharmonia Baroque Orchestra; and Bach’s St. Matthew Passion as well as Messiah with the Handel and Haydn Society.
Mr. Cutlip has collaborated with numerous dance companies, performing such works as Bernstein’s Symphonic Dances from West Side Story with Hamburg Ballet, Les Enfants Terribles with composer Philip Glass and choreographer Susan Marshall (CD Orange Mountain label), and Handel’s L’Allegro, il Penseroso ed il Moderato in conjunction with Philharmonia Baroque Orchestra and Mark Morris Dance Company at Lincoln Center, Ravinia Festival, and Cal Performances.
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