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, Yves Abel, Miguel Harth-Bedoya, Gerard Schwarz, and Donald Runnicles. His appearance as Joseph De Rocher in Heggie’s Dead Man Walking, with Joyce DiDonato and Frederica von Stade for Houston Grand Opera, has been released on Virgin Records.
In the 2015-16 season Mr. Cutlip’s sings the title role in Don Giovanni with New York City’s Venture Opera, and the title role in Sweeney Todd with Tri-Cities Opera. Also this season he is soloist for return engagements with Philharmonia Baroque Orchestra and Minnesota Orchestra in Messiah, with Winston-Salem Orchestra in Brahms’ Ein Deutsches Requiem, with Jacksonville Symphony Orchestra in Mozart’s Mass in C Minor, with Oratorio Society of New York in Haydn’s Lord Nelson Mass with the world premiere of Merryman’s Jonah, and sings Mendelssohn’s Elijah with New York City’s Grace Church. His 2014-15 season engagements included the title role in Mozart’s Le nozze di Figaro in a return to Sarasota Opera, several roles in Weill’s The Road of Promise with New York’s Collegiate Chorale, soloist in Messiah with the Winston-Salem Symphony, and in Vaughn Williams’ A Sea Symphony with the Modesto Symphony Orchestra, and was soloist in Carmina Burana at the Chautauqua Festival. He also sang Papageno in Die Zauberflöte with the Kaohsiung Philharmonic Foundation in Taiwan. His 2013-14 engagements included Stanley in Previn’s A Streetcar Named Desire with Opera Grand Rapids, and baritone soloist in Handel’s Apollo e Dafne with Music of the Baroque Chorus and Orchestra. He returned to Philharmonia Baroque Orchestra, under Nicholas McGegan, in Messiah; to North Carolina Symphony in Bach’s Christmas Oratorio; and to Jacksonville Symphony Orchestra as Figaro in Le nozze di Figaro. He also debuted with the Eugene Symphony in Haydn’s The Creation.
Recent season highlights include Eisenstein in Die Fledermaus with Virginia Opera; soloist in Messiah with Vassar College and Jacksonville Symphony Orchestra; a return to Toledo Opera in the title role of Don Giovanni, and to Fort Worth Symphony Orchestra in Carmina Burana; Carmina Burana with Toledo Symphony Orchestra; Britten’s War Requiem for the American Choral Directors Association; Aeneas in Dido and Aeneas with Mark Morris Dance Group for Cal Performances; Guglielmo in Così fan tutte with New York City Opera; soloist in Handel’s Alexander’s Feast with Philharmonia Baroque Orchestra under Nicholas McGegan; Messiah in a staged presentation with the Pittsburgh Symphony Orchestra, Manfred Honeck conducting; Brahms’ Requiem with Spokane Symphony; Carmina Burana with Memphis Symphony; Splendiano in Bizet’s Djamileh with American Symphony Orchestra; Haydn’s The Seasons with St. Paul Chamber Orchestra; Enrico in Lucia di Lammermoor and Papageno in Die Zauberflöte with Seattle Opera; Haydn’s The Creation with both Philharmonia Baroque and the Charlotte Symphony Orchestra; de Falla’s Suite from Atlantida: El amor brujo (in Catalan) with Boston Symphony Orchestra; Messiah, Beethoven’s Symphony No. 9 and Vaughn Williams' Serenade to Music, all under Osmo Vanska with the Minnesota Orchestra; reprising the title role in Philip Glass’ Orphée with Portland Opera; Zurga in Les pêcheurs de perles with Minnesota Opera; Ariodate in Serse with Houston Grand Opera; Guglielmo in Così fan tutte with Jacksonville Opera Theatre; Tarquinius in The Rape of Lucretia with Toledo Opera; Valentin in Faust with Washington Concert Opera; Messiah with Nashville Symphony; and Haydn’s Paukenmesse with Berkshire Choral Festival.
Other highlights include the Count in Utah Opera’s Le nozze di Figaro; Zurga in Les pêcheurs de perles with Opera Columbus; and Zoroastro in Handel’s Orlando with Moscow State Philharmonic Society. He alsoappeared as soloist with Phoenix Symphony in Haydn’s The Creation; with Nashville and Richmond symphonies in Messiah, also with San Diego Symphony, with which he sang Baroque concerts; in Mendelssohn’s Elijah with the Choral Art Society of Portland (ME); in Mozart’s Requiem with the Jacksonville Symphony Orchestra; in Fauré’s Requiem with the Charlotte Symphony; in Beethoven’s Symphony No. 9 with the Oregon Symphony; Dvořák’s Te Deum and excerpts from his opera Jacobin with Chicago Symphony Orchestra; with Frans Brüggen’s Orchestra of the Eighteenth Century at the Concertgebouw in Amsterdam, singing selected Bach cantatas; and with Gran Teatre del Liceu to sing Mandarin in Turandot.
Among Mr. Cutlip’s many successes on the operatic stage are his critically acclaimed Glimmerglass Opera debut as the title role in Glass’ Orphée; Marcello in La bohème and Maurice Bendix in The End of the Affair, both with Seattle Opera; and his return to the Gran Teatre del Liceu in Barcelona to sing Mattieux in Andrea Chénier. He also appeared as Rodrigo in Don Carlo with Hawaii Opera Theatre, Sharpless in Madama Butterfly with both Austin Lyric Opera and Arizona Opera, and made his debut with Houston Grand Opera as Donald in Billy Budd. Throughout his career Mr. Cutlip has portrayed many of opera’s most well-known baritone roles including Papageno in Die Zauberflöte with New York City Opera and Opera Theatre of Saint Louis, Harlequin in Ariadne auf Naxos with Seattle Opera, the title roles in both Don Giovanni and Il barbiere di Siviglia with Opera Birmingham, Malatesta in Don Pasquale with Fort Worth Opera, and Guglielmo in Così fan tutte with Arizona Opera.
Mr. Cutlip has also appeared as soloist with nearly every major North American orchestra. His extensive list of concert credits includes performances with New York Philharmonic, National Symphony Orchestra, Houston Symphony Orchestra, Oratorio Society of New York at Carnegie Hall, Atlanta Symphony Orchestra, and North Carolina Symphony. He has performed such works as Bach’s Christmas Oratorio with the Handel and Haydn Society under Grant Llewellyn, Beethoven’s Symphony No. 9 with the Philadelphia Orchestra under Charles Dutoit, Brahms’ Requiem with the Portland Symphony Orchestra, Carmina Burana with the Detroit Symphony Orchestra, and Haydn’s The Seasons with Philadelphia Baroque. He also performed Handel arias written for Mantagnana with La Stagione Frankfurt ensemble as well as Handel’s Belshazzar at the Göttingen Festival in Germany.
A distinctive element in Mr. Cutlip’s career is his ongoing collaboration with well-established dance companies and avant-garde ensembles alike, starting with his first appearance with the New York City Ballet to perform songs by Charles Ives. He has toured internationally with the Hamburg Ballet singing Bernstein’s Dances, and has appeared on European and American tours of Philip Glass’ Les Enfants terribles, including the world premiere in Zug, Switzerland. His performance of the Glass work was released on Glass’ Orange Mountain label. Mr. Cutlip has appeared with the Mark Morris Dance Company in performances of Morris’s popular fully-staged dance production of Handel’s L’Allegro, il Pensoroso ed il Moderato at Lincoln Center, the Ravinia Festival, and at Cal Performances on the UC Berkeley campus.
Frequently heard in performances with New York Festival of Song, Mr. Cutlip gave the world premiere of American Love Songs – a set of 10 commissioned pieces for vocal quartet – at the Tisch Center for the Arts and at the 92nd Street Y; appeared in a program of commissioned works at Weill Recital Hall at Carnegie Hall; and also toured with NYFOS to Louisville for Rorem’s Evidence of Things Not Seen.
06/2016 – PLEASE DESTROY ALL PREVIOUSLY DATED MATERIALS.
MODIFIED VERSIONS MUST BE APPROVED BY BARRETT ARTISTS.