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Caitlin Hulcup

  • Mezzo-Soprano


Caitlin Hulcup press reviews

West Australian Opera – April 2010

“In Hume's production the messiness of life is given a gritty complexity, aided by Caitlin Hulcup's intriguingly vulnerable Carmen. … Hulcup, fresh from her baroque triumphs in Europe, sings with razor-sharp technique, impeccable accuracy and an unusual (for Bizet) lightness. Don't expect a blazing Carmen; Hulcup's gypsy is a troubled siren and not the stereotypical raunchy redhead. In this opening night performance, her Habanera was languid, as though she almost couldn't be bothered seducing a courtyard full of admiring soldiers. Elsewhere, there was a reckless haughtiness mixed with moments of real love and visible fear. It was hard to tear the eyes away from the constant shadows of emotions playing across her face…. Carmen is never an opera to miss and, while this production doesn't match the splendour of Peter Grimes earlier this year, Hulcup's multi- faceted Carmen is worth catching.
The West Australian / Rosalind Appleby / 15 April 2010



Théâtre des Champs-Elysées, Feb/Mar 2010

Le quatuor féminin a en revanche été reconduit aux trois quarts: Anna Caterina Antonacci est une Alice toujours aussi luxueuse, Marie-Nicole Lemieux une Mrs Quickly toujours aussi truculente, poitrinant et nasillant pour pousser à bout son incarnation de la «femme Mercure», et Caitlin Hulcup une commère toujours aussi piquante en Meg.
Simon Corley /

On retrouve aussi en Meg Page la mezzo Caitlin Hulcup qui tient agréablement sa modeste partie.
Brigitte Cormier / Forum Opera / 27 February 2010

“fruity-toned Meg of Caitlin Hulcup
I Hear Voices / 27 February 2010



Linbury Studio Theatre, Royal Opera House

“The light and only occasionally virtuosic score was well suited to the young cast of singers fielded by the ROH. Chief among these was Caitlin Hulcup as the wrongfully-accused Arbaces, son of Artabanes. Hers was the stand-out performance of the night, drawing much merited applause for her beautifully controlled legato singing and expressiveness of tone. … Hulcup alone brought both character and line to her sung dialogue.”
Musical Criticism/ Alexandra Coghlan 

“The showiest numbers are shared between the cruelly duped Arbaces – the excellent Caitlin Hulcup – who gets the score’s most enduring gem “O too lovely, too unkind”, an aching plaint spun over muted violins and divided violas…“
Independent / Edward Seckerson / 31 October 2009

“Two members of an excellent cast stood out: Elizabeth Watts sang Mandane with clarity and firm line, while Caitlin Hulcup brought impressive dignity and warmth to the castrato role of Arbaces”
Telegraph / Rupert Christiansen / 2 November 2009

“Mezzo Caitlin Hulcup is a winsome Arbaces, whose love song over sustained violas and plucked basses could stand up to the best of Mozart.”
The Guardian  / Erica Jeal / 1 November 2009

“The trouser role of Arbaces gets some of the best material and mezzo Caitlin Hulcup, an impressive stand-in for Angelika Kirchschlager as Ariodante at the Barbican a couple of season ago, excels.”
Whats on Stage / Simon Thomas / 31 October 2009

“There is some terrific singing to be heard here, especially from … Caitlin Hulcup, who plumbs the anguished emotional depths of the castrato role of Arbaces with her plangent delivery”
Evening Standard / Barry Millington / 2 November 2009

“The singing is spot on. Caitlin Hulcup plays a very convincing male role as the long-suffering but ultimately vindicated Arbaces. Her voice has the strength and stamina to carry forward the more dramatic passages, but enough sensitivity to evoke real feeling in the gentler arias.”
Music OMH / John-Pierre Joyce



La Monnaie, Brussels / February 2009

“La vraie Diane a l’aplomb et l’élégance de la mezzo Caitlin Hulcup” / Caroline Alexander / 21 February 2009

“Deux excellentes chanteuses encore: la mezzo Caitlin Hulcup, Diane séductrice et ambigüe“ / Martine D. Mergeay / 19 February 2009


Scottish Opera - May/June 2009

“Caitlin Hulcup’s flightily romantic Dorabella has teen hormones on overdrive, playing blindly at love until the “pitter patter” kindling of grown-up chemistry in a wonderful Il core vi dono with her well-matched Guglielmo (Ville Rusanen).”
The Times / Sarah Urwin Jones / 1 May 2009

“The main protagonists form a tight, volcanic unit, with a deliberate hint of visual anonymity in the matching cream frocks of Fiordiligi and Dorabella. But these are all finely-etched, distinctly defined characters. …Despite the matching attire, Caitlin Hulcup casts her Dorabella with a sexier edge than Violet Noorduyn's crisper, cooler Fiordiligi.”
The Scotsman / Kenneth Walton / 1 May 2009

“Hulcup's transformation from would-be vamp to shamed ingénue is superbly handled.”
Independent on Sunday / Anna Picard / 3 May 2009



Theater an der Wien, September 2008

“In der Australierin Caitlin Hulcup fand man jedoch einen vollwertigen Ersatz: Einen Mezzosopran von charaktervoller Farbe samt täuschend echt viriler Tie-fe, begabt mit sensationeller Koloraturtechnik eben-so wie mit hoher Ausdruckskraft in tragischen Momenten.”
WienerZeitung / Gerhard Kremer / 17.09.08

“Da ist der allzu nette Ariodante - angesichts des Glaubens, seine Ginevra hätte sich an anderer Männerfront schon vergnügt - unterwegs zum Selbstmord. Doch Caitlin Hulcup verbreitet - dolchschwingend - vorwiegend perfekten Schülertheatercharme.”
Der Standard / Lubisa Tosic / 17.09.08

Barbican Centre, 27 March 2007

“Even without Angelika Kirchschlager, forced by illness to cancel, the Barbican's sell-out performance had a stunning line-up.  Her replacement as the vassal prince of the title, Australian Caitlin Hulcup, deserves highest praise.  Her stage presence is radiant, her voice rich-toned but flexible.  She detonates her vocal fireworks with brilliance and deserved her rapturous applause.”
Fiona Maddocks / Evening Standard / 28 March 2007

“There was one very pleasant surprise.  Angelika Kirchschlager being stricken with acute laryngitis, the title-role was taken by a young Australian mezzo-soprano, Caitlin Hulcup.  She sang with a highly attractive warmth and quiet confidence, keeping her poise in the heart-rending "Scherza infida" (surely one of the greatest things in Handel's oeuvre) and tossing off the virtuosic "Dopo notte" with aplomb. 
If she can keep her nerve through such a testing ordeal, she must be ready for a major career.”
Rupert Christiansen / Daily Telegraph / 29 March 2007

“… a magnificent Ariodante. Her mighty aria of despair “Scherza infida” was superbly shaped and inflected. The contained dignity and depth of expression of Hulcup’s singing cast into relief the comparative shallowness of de Niese’s performance.”
Hilary Finch / The Times / 2 April 2007

“Much of the credit lies with Caitlin Hulcup, the Australian mezzo who stood in for an indisposed Angelika Kirchschlager and sang as if she were predestined for the title role. She rode the fearsome coloratura of her great Act l aria with aplomb. In “Scherza infida” she wrung our hearts, while “Dopo notte” showcased her open-heartedness as well as her brilliant way with the da capo decoration.  The voice filled out as the evening progressed and she clearly has the temperament for the big occasion.”
Andrew Clark / The Financial Times / 30 March 2007

“… the young Australian Caitlin Hulcup is an emerging talent who is strikingly tall, so physically well suited to what, in our time, has become a “trouser” role. She did well under the circumstances and deserved her enthusiastic ovations. … Hulcup more than saved the day in some of Handel’s most emotionally and technically taxing music.”
Hugh Canning / The Sunday Times / 1 April 2007

“Hulcup evinced noble masculinity: standing in for Angelika Kirchschlager, this young Australian held us all spellbound with her two great arias.”
Michael Church / The Independent / 30 March 2007

“… [Caitlin Hulcup] last night became the toast of the Handelian connoisseurs in a packed Barbican Hall.  For a relatively unknown singer to step in for the indisposed Angelika Kirchschlager in the title role of Ariodante at a day or so’s notice is a daunting prospect. To do so with poise in a semi-staged concert, without the safety net of the score in front of her, made Hulcup’s achievement spectacular. Her voice is particularly rich and well rounded in the lower register, showing to very fine advantage in the plaintive “Scherza infida”, and she made good use of her commanding stage.”
Serena Fenwick / Musical Pointers on-line / 31 March 2007

“The title role was supposed to have been taken by Angelika Kirchschlager, but she was ill and the young Caitlin Hulcup took her place, with the utmost aplomb. I’m a great admirer of Kirchschlager, but I doubt whether she would have been more moving or convincing.”
Michael Tanner / The Spectator / 7 April 2007

“Angelika Kirchschlager had to cancel at the last moment, a great disappointment to the audience, but her replacement in the title role, the dazzlingly pretty Australian mezzo Caitlin Hulcup, was something of a sensation. She tackled her first bravura aria, ‘Con l’ali di costanza’, with calm confidence and the audience rose to her, stopping the show (as it did after ‘Scherza infida’). Her voice is not huge – she is young yet – but it is beautifully warm and her technique seems faultless. This performance will have done her career no harm at all.”
Rodney Milnes / Opera / June 2007