Eric S. Brenner, countertenor, has been hailed for his “penetrating eloquence,” “astonishing solo singing” (NY Times), & “auto-tuned Mr. Roboto majesty” (Stage Mage). A fervent proponent of very old & very new music, Eric’s current engagements include: Doodle in Stefan Weisman’s & David Cote’s Scarlet Ibis with Prototype; Didymus (cover for David Daniels) in Handel’s Theodora with English Concert; Tolomeo in Handel’s Giulio Cesare with Opera Roanoke; Volpino in Haydn’s Lo Speziale with Rochester Lyric Opera; Riccardo in Scarlatti’s Il Trionfo dell’Onore at Symphony Space; Giuliano (cover) in Cavalli’s Eliogabalo with Gotham Chamber Opera; The Poet in Virko Baley’s Holodomor (NYC & Ukraine); Beast in Hannah Lash’s Blood Rose; D.A.V.E. in Kamala Sankaram’s Miranda; Countertenor soloist in Orff’s Carmina Burana & Bernstein’s The Lark at Avery Fisher Hall; soprano & alto soloist in Handel’s Messiah at Alice Tully Hall, Trinity Wall Street Church, St Thomas Church Fifth Avenue, & the Cathedral of St. John’s in Albuquerque, NM; soprano soloist with Alarm Will Sound; soloist/ensemble with Ekmeles; soloist/ensemble on EURYDICE & Chrysalid Requiem (Cantaloupe Music) by Guggenheim & Pew Fellow Toby Twining, & area appearances with Toby Twining Music. Eric is also co-composer with Matt Shloss of music for Rob Reese’s Yahweh’s Follies, is hard at work on his second novel and his first play, and persists in being an incorrigible Mets fan. Eric is represented domestically by Wade Artist Management.
Find out more at www.ericsbrenner.com