© Tim South

Caitlin Hulcup

Mezzo-Soprano

Management: Australasia

 Rossi Orfeo, Royal Opera HouseShakespeare's Globe
“…But the evening’s most distinguished performance came from the Australian mezzo-soprano Caitlin Hulcup as Orpheus’ rival Aristaeus (another castrato role): his-her mad scene after Eurydice’s death brought an otherwise absent note of emotional urgency to the proceedings and momentarily made me feel that the opera had something sincere to communicate.”.
Rupert Christiansen, telegraph.co.uk, 24 October 2015

“…Another outstanding performance comes from Caitlin Hulcup as Aristeus... The tragi-comic role includes a substantial mad scene, but Hulcup is as dazzling in comedy as in pathos, and has a terrifically caressing voice too”. 
Warwick Thompson blouinartinfo.com 

Orfeo, Orfeo Ed Euridice Scottish Opera 2015
"... there’s fine singing to enjoy. The Australian mezzo Caitlin Hulcup has impressed me for years with her rich, full and distinctive timbre, and she sings Orfeo with commendable intensity ...Her flaming row with Lucy Hall’s plangently sung Euridice distraught and baffled by Orfeo’s coldness, is the emotional centre of the show.
Richard Morrison, The Times

Iphigenie, Iphigenie en Tauride Pinchgut Opera 2014 
“Iphigénie, mezzo soprano Caitlin Hulcup is quite remarkable.  A woman on the verge, indeed, but every gesture of voice and body is eloquent and controlled.  Her instrument is a pure stream of liquid silver, flowing in the arias, nuanced in the crucial Gluckian recitative.  Ô malheureuses Iphigégie is heart-rending…powerfully sung and staged"
Clive Paget, Limelight Magazine, 03 December 2014

Calbo, Maometto secondo,  Garsington Opera , Wormsley
“….Hulcup delivers her trouser-role with none of the usual irritating faux-masculine mannerisms, and with an artistry to take the breath away. She negotiates the most awkward leaps as if nothing could be more natural..."
Michael Church, The Independent, 10 June 2013

Der Rosenkavalier,  'Maggio Musicale Florence April 2012 
“Ms Hulcup was close to ideal in weight and timbre for the title role and she immersed herself in the character with a combination of aristocratic poise and vulnerability that made her hormonally raging teenager extraordinarily sympathetic."
Nicola Lischi, Opera Britannia
http://www.rai.tv/dl/RaiTV/programmi/media/ContentItem-eb1e1eda-892f-4397-b7f3-98f76eb4b288.html

Caitlin Hulcup has appeared at leading opera houses internationally, the Wiener Staatsoper, Deutsche Staatsoper Berlin, Royal Opera House Covent Garden, Moscow's Bolshoi, NCPA Beijing, Bayerisches Staatsoper, Teatro Real Madrid, Maggio Musicale Fiorentino, Scottish Opera, La Monnaie Brussels and Palau de les Arts Valencia among them. ​​ 

Early in her career, Caitlin sang the title role of Handel's Ariodante at the Barbican in London and Teatro Real in Madrid with Les Talens Lyriques. She was subsequently invited to reprise this role at Opernhaus Halle, Bayerisches Staatsoper and at Theatre an der Wien. She has performed as Meg Page (Falstaff) for Théâtre des Champs Elysées with Daniele Gatti, and as Destino/Diana (La Calisto) at La Monnaie in Brussels under René Jacobs. Caitlin was a soloist in Beethoven's 9th Symphony under Gustavo Dudamel and at the BBC Proms (2009) and sang Artaxerxes/Arbaces in Artaxerxes with Ian Page at the Royal Opera House London. She performed as Dorabella (Cosi fan tutte) and Rosina (Il Barbiere di Siviglia) while a principal at the Wiener Staatsoper. Caitlin has sung the role of Cyrus in Handel’s Belshazzar with William Christie, Octavian at the Bolshoi Theatre with Vassily Sinaisky and Sesto (Clemenza di Tito) in Taipei. Caitlin sang Cesare in Vivaldi’s Catone in Utica at Théâtre des Champs Elysées, and Alceste (Admeto) at Theatre an der Wien with Alan Curtis. She sang as Calbo in Rossini’s Maometto II for Garsington Opera and has appeared in productions in both Valencia and Florence as Donna Elvira under the direction of Maestro Zubin Mehta. She also gave her role debut as Octavian (Der Rosenkavalier) with Zubin Mehta for Maggio Musicale in Florence. She has recently performed as Aristeus (Rossi's Orpheus) in a Royal Opera House production at the Sam Wannamaker Theater of the Globe London and as Octavian in Beijing under Sebastian Lang-Lessing. 

In Australia Caitlin has performed Rosina (The Barber of Seville), the title role of Carmen, Cherubino (The Marriage of Figaro), Donna Elvira (Don Giovanni) and Kate Pinkerton (Madama Butterfly) for West Australian Opera, as well as Hansel (Hansel and Gretel) and Cherubino for Opera Queensland. For Pinchgut Opera in Sydney she created the title role of Vivaldi's Griselda in 2001 with Erin Helyard and Gluck's Iphigenie en Tauride in 2014 with Anthony Walker.

Recent concert engagements include Des Knaben Wunderhorn with the Sydney Symphony Orchestra conducted by Mark Wigglesworth, Mahler Symphony No. 8 with the Royal National Scottish Orchestra, Mozart 'Great' C minor and Coronation Masses with Jeremie Rhorer, as well as Carmen in concert at the Mikhailowski Theatre St Petersburg.

Having performed as Orfeo (Orfeo ed Euridice, Gluck) for Scottish Opera in 2015, Caitlin will return in the title role of Ariodante in 2016. Other upcoming performances include Idamante (Idomeneo) with Garsington Opera, Irene (Theodora) for Pinchgut and Maher 2 with Sydney Symphony Orchestra. 

 

Caitlin Hulcup is managed by Graham Pushee: graham@artsmanagement.com.au
February 2016
  This biography is for general information purposes only and not for publication.
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