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“The accompanied recitative for tenor is more dramatic. Like the protagonist in Psalm 22, and like Jesus on the cross, the Christian is forsaken by God and his cries are not heard. The themes in the following aria were developed from the metaphor of salt tears in a rushing stream. A sudden interruption came with a shift from Largo to Allegro to invoke the storms and waves that pressed against him, only to return to the “sigh” music, now enhanced by dramatic word painting: precipitous descents on “Here I sink to the ground” and “There I gaze into the maw of Hell.” Tenor Eric Christopher Perry made the most of these dramatic contrasts.” (Bach, BWV 21, Cantata Singers, Boston Musical Intelligencer, 2018)


“’Inhuman Henry’ sets the A.E. Houseman poem in modernistic terms, playful, advanced in extra-tonal ways and flowing well with the text and its own development. Eric Christopher Perry in the solo tenor role and the Moravian Philharmonic do a bang-up job with this concluding work.”

(Review: The Vocal Music of Alan Beeler [Navona Records], Grego Applegate Edward [], 2016)”

"All the soloists were veteran members of the Handel and Haydn chorus...Eric Christopher Perry embodied the religious melodrama of the fire-and-brimstone recitatives, with sharp physicality and a ringing tenor voice." (Bach, BWV 10, Handel and Haydn Society, The Boston Globe, 2016)

“There is no piece of music, no genre, no medium that we will not explore,” said Perry, the group’s artistic director. “I think that we’re all eager to learn a lot of different things. That’s really important for us, because this is still very much a project for own interest: We’re doing it for the love of really great music. The fact that we can perform with boundaries is really freeing.” (Renaissance Men, RenMen 1965, The Boston Globe feature article, 2016. CLICK HERE FOR THE FULL ARTICLE)


"Of Part III, “Moses’ Song,”...tenor Eric Christopher Perry’s very fast “The Enemy Said” flew by with tremendous bravura." (Handel, Israel in Egypt, Boston Musical Intelligencer, 2016)

“The vocal soloists, drawn from the Cantata Singers’ ranks, sung with commitment…Eric Christopher Perry’s tenor made for a fiery and dramatic ‘Deposuit.’” (Bach, Magnificat in D, Boston Classical Review, 2015)


"The guest musicians that will come together to make this possible include the rising star tenor, Eric Christopher Perry who will be replacing Dr. Randal Rushing due to illness... Eric Christopher Perry is gaining a national reputation for impressive and passionate song interpretation. He was lauded by the Boston Classical Review for his “expressive energy and ringing high notes” and the Boston Globe commended him on his “sweet and appealing tone.” He is going to use these skills to bring to life some of the most stirring English poems in the literary world such as Alfred Lord Tennyson’s, the Light Brigade, and William Blake’s, The Sick Rose. As a last minute replacement, the symphony was fortunate to get him. Watkins agrees. 'Britten’s piece is very difficult to perform. You need a specialist. They have to have the baroque voice and only certain people have that. It is like choosing the perfect actor in a movie.' Watkins stated, showing his appreciation that they were able to acquire Perry in such short notice for the program." (Britten, Serenade for Tenor, Horn, and Strings; El Dorado News, 2015)


"My reaction to my first hearing of Renaissance Men was one of excited pleasure. In solos one can hear that these men, trained singers all, have quite individual voices, but when united they blend smoothly into a pleasing whole under Eric Christopher Perry’s unobtrusive but effective direction. Whether in compositions written expressly for male chorus or in arrangements, they move, amuse, edify, and entertain. Given the semi-neglect heretofore of much of this repertoire, I look forward to future RenMen seasons as they broaden and deepen their repertoire." (Renaissance Men; Boston Musical Intelligencer, 2015)


"The resonant acoustics...were certainly favorable for the four outstanding was the ravishing duet for soprano and tenor, Domine Deus, with Teresa Wakim and Eric Christopher Perry." (Bach, Mass in b minor; Boston Musical Intelligener, 2015)


"Eric Christopher Perry sang with a smooth silky tenor in the recitative "Hochedles Paar." (BWV 195a; Boston Classical Review, 2014)


"Tenors [Frank] Kelley and Eric Christopher Perry sang a sensitive, borderline sensual Audi Coelum." (Monteverdi: Vespers of 1610; Boston Musical Intelligencer, 2014)


"In the aria 'Jesu, lass uns auf dich sehen,' tenor Eric Christopher Perry infused the movement's moderate tempo with expressive energy and ringing high notes." (BWV 6; Boston Classical Review, 2014)


"The program notes themselves by tenor Eric Christopher Perry were thoughtful and displayed a light but sure academic hand, equally as informed about the appearance of spirituals in the music of Charles Ives as about the provenance of bluegrass vocal arrangements." (Renaissance Men; Boston Musical Intelligencer, 2014)


"Tenor Eric Christopher Perry sang with a clear and even tone in another number mixing soloist and choir" (BWV 131; New York Arts, 2013)


"Eric Christopher Perry...took a more subtle approach to his aria-duet with the alto section...his delivery remained clear and audible throughout." (BWV 131; Boston Musical Intelligencer, 2013)


“Tenor Eric Christopher Perry had a sweet and appealing tone.” (BWV 131; Boston Globe, 2013)


Solo voices were uniformly clear and polished; highlights included...the exuberant tenor Eric Christopher Perry in the Benedictus. (Bach Mass in b minor; Boston Musical Intelligencer, 2011)


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