Recent Reviews

“Enfin, on retrouve Eric Halfvarson en roucoulant barbon, Général cultivant une          chimérique existence de jeune premier irrémédiablement situé par la voix dans une franche maturité. Outre l’indicible confort que la grande basse étasunienne offre à l’héritier potentiel, admirons la construction dramatique qui, plus noblement que d’accoutumé, élève ce grotesque – par-delà l’infarctus et même le trépas rendus effectifs par la mise en scène. Avec ses atouts bien à lui, ce Joueur flamand tient donc dignement son rang.”

By … ‘BB’




“In de eerste plaats was er Eric Halfvarson, die met een grote en homogene bas de Generaal gestalte gaf.”

“In the first place there was Eric Halfvarson , who with a large and homogeneous bass gave the General shape.”

by: ‘Grande Inquisitor’




“…la basse étasunienne Eric Halfvarson impose sa stature et ses graves dans le             personnage du Général, …”

by Emmanuel Andrieu




“Eric Halfvarson overtuigt – soms al even grotesk – als generaal”“Eric Halfvarson convinces – sometimes just as grotesquely – as general.”

by Lucrèce Maeckelbergh




“L’orchestre est en belle forme, et la distribution internationale est du meilleur niveau : dominée par l’excellent Alexeï du ténor tchèque Ladislav Elgr, elle comprend notamment la Polina fruitée et puissante d’Anna Nechaeva, le très solide Général d’Eric Halfvarson, une Baboulenka sans failles (Renée Morloc) et un impeccable Marquis (Michael J. Scott).”





“Maar ook het grote geschut is niet te versmaden: de twee knappe tenoren Ladislav Elgr (Aleksej Ivanovitsj) en Michael J. Scott (de Markies) en de indrukwekkende bas Eric Halfvarson als Generaal, maar vooral de buitengewone Anna Nechaeva als Polina.”

“But also the big guns are not to be scorned: the two handsome tenors Ladislav Elgr (Aleksey Ivanovich) and Michael J. Scott (the Marquis) and the impressive bass Eric Halfvarson as General, but especially the extraordinary Anna Nechaeva as Polina.”

by   Stephan Moens




“Stellvertretend fur eine imponierende musikalische Gesamtleistung seien nur die Hauptfiguren benannt: Ladislav Elgr als höhensicherer, mit lyrisch veredeltem Tenor singenden Titelfigur, Anna Nechaeva mit dunkelrot timbrierten, loderndem Sopran als ungluckliche Polina, Eric Halvarson als knorriger General und Renée Morloc als grandios formulierende, scharf gezeichnete Baboelenka. Großer Jubel.”

von Regine Muller




“ …, et Eric Halfvarson, inoubliable par son mordant et son talent scénique en Général, vieux braque sous perfusion.”

Copyright: by Sébastien Foucart




“Eric Halfvarson gave us a tremendous performance as the tightly uniformed Daland; his bass is quite substantial and he showed the projection and attention to diction of a seasoned singer. He offered several moments of comedy; the sudden dash back to the Dutchman in Act 1 as hints are made of riches, and his almost Gollum-like fixation with the gold beads given as a down payment for his daughter’s hand.”

            By Dominic Lowe,




Götterdämmerung is a dark tale of intrigue, betrayal and revenge. In effect, it’s the story of Hagen’s machinations to win back the ring which his father, Alberich, had fashioned and on which he had placed a curse. American bass Eric Haflvarson’s brawny tones added an edgy sense of menace. Sometimes whispering under his breath, at other times in controlled outbursts, he made it sound as if it was impossible to plumb the depths of Hagen’s malevolent defiance more than he did. Despite repeated appearances in all three acts, he was able to maintain an enviable consistency and purity of tone.”

           By Alan Yu,


2017-05-05-RVW=http-// Carlo | Anaclase.pdf

“la basse nordaméricaine Eric Halfvarson campe un Inquisiteur mémorable.”

by ‘KO’


2017-03-13=Leonore<WashConctOpera « parterre box.pdf

“Halfvarson’s warm, authoritative bass proved a good fit for the gruff yet tender Rocco,”

by Alex Baker = []



“The domestic-comedy side of the piece isn’t actually all that funny, since the jailer, Rocco, is the archetype of the small official who loves his family but slavishly follows unjust orders. Eric Halfvarson, though, manages to make everyone he sings slightly lovable, and he sang his way past an announced and initially audible indisposition into a warm, blunt, honest sound that effectively let the character off the hook.

Anne Midgette




“Halfvarson probably has more experience of playing Hunding than either of the other two have their respective roles, and his understanding of the part showed from the moment he set foot on the stage. He revealed a dark yet immensely full bass voice, and his acting was convincing as he never fell into the trap of indulging in histrionics.”

by Sam Smith




“With Eric Halfvarson as the big-voiced, baleful Hunding, they made a strong cast.”

by: Richard Fairman




“imponente e sinistro il Grande Inquisitore di Eric Halfvarson”

             by Davide Annachini




“Halfvarson, meanwhile, made a tremendous impression as the most brutal Hunding imaginable.”

by Tim Ashley



“Eric Halfvarson also found the perfect balance between musicality and character. Hunding is a coarse, violent man, and Halfvarson was certainly coarse and violent. But his music can be deliciously legato: Halfvarson was able to produce lyricism and dark chocolate timbre in these phrases while leaving you in no doubt that the violence would soon return.”

           By David Karlin, 09 February 2017



“It was Eric Halfvarson who nearly stole the vocal honours from her with a superbly characterised Hunding. There was no mask of politeness here from his deep, baleful and sonorous bass voice, he was just a big bully harbouring possessive resentment.”

               by Jim Pritchard


2017-02-04=RVW=Don Carlo – Teatro alla Scala | Opera secondo me.pdf

“Il personaggio del Grande Inquisitore non canta molto, nel Don Carlo, ma ha una delle parti più incredibili che Verdi abbia mai scritto: il duetto con Filippo II è pazzesco, dal punto di vista musicale. Eric Halfvarson ha una voce potente, e la sua interpretazione è stata memorabile; è riuscito a mostrarsi terribile e allo stesso tempo estremamente fragile, nella sua cecità e vecchiaia.”




“Fue un lujo contar con el Daland de Eric Halfvarson: el veterano cantante sigue poseyendo un atractivo timbre y una sólida voz de bajo. Ademaás, retrató un Daland de tintes ingenuos, a veces casi cómicos.”

by César RUS



“Eric Halfvarson se mostró también a la altura de su papel como Inquisidor”

by Andrea Merli



“Eric Halfvarson, chiamato a sostituire Orlin Anastassov, è un basso di solida esperienza e di vocalità scura e particolarmente robusta. Un Grande Inquisitore interpretativamente tanto grezzo quanto credibile ed efficace in grado di reggere il confronto, anche volumetrico, con il potente Filippo II di Furlanetto.”

by Danilo Boaretto



“The latter was bass Eric Halfvarson, who replaced Orlin Anastassov in the first few performances. His voluminous and aggressive voice matched well Furlanetto’s more refined bass.”

by Silvia Luraghi



“nothing terrified more than his confrontation with Eric Halfvarson’s Grande Inquisitor: pure fanatical rage funnelled through an age-wracked body.”

           By James Imam, 20 January 2017



“Ottimo il Grande Inquisitore di Eric Halfvarson dalla voce giustamente cavernosa ed imponente. Si sarebbe forse gradita una migliore pronuncia del testo ma il personaggio è venuto pienamente in risalto nel grande Duetto con Filippo II.”

by Simone De Angeli


2017-01-18-RVW-Valencia3= Cri El Mundo.pdf

“Halfvarson fue el mejor cantante sobre el escenario, sin duda uno de los mejores Daland de la actualidad.”



2017-01-14=RVW-Valencia-DalandCri LP.pdf

“Fue un lujo contar don el veterano Eric Halfvarson como Daland. La ductilidad de su timbre sigue deleitando y firma una auténtica creación del personaje, con una candidez que, en ocasiones, roza lo cómico.”

César Rus



“No one else gets much of a look-in in this opera, but vocal heavyweight Eric Halfvarson embodies effectively Manon’s predatory admirer Geronte,”

George Hall



“Eric Halfvarson, on the other hand, lends a voice of fresh bitumen to the ghastly Geronte,”


2016-10-10=The emotion of the day/ Parsifal again at the Athenaeum | about Opera.pdf

“Gurnemanz begins his role on a platform installed on foreground right, while Amfortas, Kundry and Parsifal make their entrance turn left at the far end of the stage, on a similar platform. Eric Halfvarson sings his authoritative role coupled with serenity: it is the incarnation of Gurnemanz. A rare voice with a deep bass authentic: dark by nature, becoming threatening, heroic or tender to order instantly. Diction is perfect. This man used to design sounds in force over four thousand at the Metropolitan located at the Romanian Athenaeum ideal place to make an epic role. His monologue Gurnemanz in the first act,

when he tells them knights’s drama Amfortas hurt the sorcerer Klingsor, explaining her Kundry, it is one of the great moments in the history of opera and remains anthology evenings at the Athenaeum (and the last year and from now). Halfvarson’s hard to forget intonations, crying with despair holy spear loss at the hands of the sorcerer.”




“The main cast was impressive, led b y Eric Halfvarson (Gurnemanz), who turned his part into a double role, as the leader of the Grail Knights but also as the wise storyteller of a hieratic poem. His profound and secure voice took advantage of the circular and rather small auditorium (800 seats), projecting innumerable colours and dynamics with ease, in a versatile interpretation.”

Alexandru Patrascu


2016-10-20=Primul act din „Parsifal“ sau „mântuirea prin fresca Ateneului Român“ | Costin Popa |

“Formidabila voce, abisala voce a renumitului bas Eric Halfvarson (Gurnemanz), o forţă a naturii, a fostînveşmântată în ştiinţa declamaţiei wagneriene, a acelui „Sprechgesang” propriu bardului de la Bayreuth, ziceri narative, profetice şi expresive de impresionant impact.”

“The formidable voice, the voice abisal of the famous bass Eric Halfvarson (Gurnemanz), a force of nature, was dressed in the science of Wagnerian declamation, of that Sprechgesang proper to the bard from Bayreuth, narrative sayings, prophetic and expressive of impressive impact.”

Costin Popa


2016-08-02-Don Carlo en San Lorenzo de El Escorial – Opera World – Opera World.pdf

“el muy veterano Eric Halfvarson fue de una marmórea contundencia vocal como el Gran Inquisidor. La proyección de su voz se impuso con rotundidad ante Colombara/Felipe II.”

Federico Figueroa


2016-05-26-Gött-WNO-“Parterre”=A choice, not an ecosystem « parterre box.pdf

“The enveloping, deep midnight color of Eric Halfvarson’s bass fueled an obnoxious but thoughtful Hagen, delighted to be running circles around his various pawns and opponents in the quest for the Ring.”

Alex Baker


2016-05-24-RVW=Gött-WNO=Voix des Arts/ A Voice for the Performing Arts throughout the World/ PERFORMANCE REVIEW/ Richard Wagner — GÖTTERDÄMMERUNG (N. Stemme, D. Brenna, M. Citro, R. McKinny, E. Halfvarson, G. Hawkins, J. Barton.pdf

“One of America’s most admired and experienced Wagnerians, bass Eric Halfvarson was envious evil personified as Hagen, one of the nastiest characters in opera, but he gave Wagner’s music its due even when snarling malevolently. Halfvarson sang—ja, actually sang—‘Dies echt gennanten acht’ ich zu neiden mich du!’ and ‘Siegfried, der Wälsungen Sproß: der ist der stärkste Held’ chillingly, little challenged by the top Fs.”

Joseph Newsome


2016-05-23-RING-WNO=A historic “Ring” at a historic moment/ two critics’ thoughts. – The Washington Post.pdf

“…and a wonderfully menacing and vocally resplendent Hagen sung by Eric Halfvarson.”

Anne Midgette and Philip Kennicott



“Eric Halfvarson was a stentorian menace as Hagen, the son of Alberich who is now the power behind Gunther and Gutrune, the siblings who preside over Gibichung Hall. Halfvarson chilled the blood as he glowered his way through the Hagen’s Watch monologue in Act I, the lighting and video turning blood red behind him.”

Charles T. Downey


2016-02-28- Götterdämmerung-Liceu-BCN<DiariaARA>

“Cridat a última hora, Eric Halfvarson va compensar una lògica usura vocal amb una composició de Hagen d’una negra perfidia que encara posa els péls de punta,…”

Xavier Cester


2016-02-28- Götterdämmerung-Liceu-BCN<LaRazon>

“El rutundo y malvado Hagen del experimentado bajo wagneriano Eric Halfvarson fue otro de los puntales de esta representación…”

Fernando Sans Reviére


2016-02-28 = Götterdämmerung-Liceu-BCN<El MUNDO>

“Aunque si una voz ayudó a las demás, fue la de Eric Halfvarson, sustituto de última hora para un Hans-Peter König afectado de la garganta: grave y resonante, firme y sabio, el bajo norteamericano elevó también al máximo nivel el tercer vértice del triángulo, el crucial rol de Hagen.”

Javier Blánquez


2016-01-26 = Wien: Kurier

“Auf der Bühne überzeugten des Weiteren der grossartige Eric Halfvarson als Hagen mit starker vokaler und darstellerischer Interpretation…’

Marion Eigl


2016-01-25 =

“Eric Halfvarson ist immer noch ein Hagen von großer physischer Präsenz, dominiert die Szenerie mit passend finsterem Gebrüll, expressionistischen Gesten und subtilen Manipulationen”

Von Walter Weidringer


2016-01-25 =

Hagen, von Eric Halfvarson stimmlich und schauspielerisch eindrucksvoll gestaltet und mit kräftigem Baß nicht nur die Mannen zum Feiern auffordernd, zog an Gibichs Strand die Fäden der Intrige gegen den »hehrsten Helden.”

Thomas Prochazka


2016-01-25 =

“Bei der Götterdämmerung stellt Eric Halfvarson das Nonplusultra dar: Wie der singt! Und spielt! Sein Hagen ist kein Durchschnittsintrigant, der ist komplett irre, der tanzt herum, dirigiert im Taumel seine Mannen; aber er ist auch ein ganz normaler Mensch, verletzlich, gebrochen, sich nach Liebe sehnend. Einsame Weltklasse. Wenn der US-Amerikaner auf der Bühne agiert, verliert sich auch die Lähmung des Sehsinns, die sich durch die monochrome Bühnenödnis von Rolf Glittenberg eingestellt hat, augenblicklich –”




“”Benvenuto Cellini”, al fin y al cabo, es una comedia de enredo en la que el protagonista, al final, queda bien con el poder –el Papa Clemente VII, que interpreta un Eric Halfvarson, bajo de voz cavernosa y firme, caracterizado con tanto polvo, colorete y oropel que, antes que pontifice, más parecía una Turandot ‘trans’ – y consigue llevarse a la chica para, juntos, vivir felices y comer perdices. Y Gilliam sabe un rato de comedia.”

Javier Blánquez


2015-11-09-RVW=Opera review/ Benvenuto Cellini – (

“Pope Clement VII, expertly performed by Eric Halfvarson, was a delight to behold. The costuming and make-­up resembled more of what we might envision appropriate to an ancient Oriental emperor, especially the long golden finger nails. Halfvarson’s subtle movements and beautifully resonant voice helped portray a character that seemed other worldly but comic, with a great sense of humour.”

by Sherry Johnston


2015-11-09-RVW=Benvenuto Cellini, Berlioz Bienvenue, Welcome Gilliam | by Bachtrack for classical music, opera, ballet and dance event reviews.pdf

“The authority on bass Eric Halfvarson scenario is beyond doubt, still it retains a beautiful instrument and learned to deal with the role of Pope Clement VII, in which the imagination of Gilliam is especially primed with a more appropriate characterization of that Altoum a high priest, but also infuse knew Halfvarson authority. His brief performance was a little luxury.”

By Miquel Martinez



“And as the Commendatore, the huge-voiced Eric Halfvarson. Not much acting required from him, but it’s the voice that counts, and his vocal presence is extraordinary.”

Gavin Dixon



and that peerless Hunding, Eric Halfvarson, was a commanding, sonorous Commendatore.”

by Melanie Eskenazi



“But the 3rd act belongs to Gurnemanz. Eric Halfvarson was ideal: his part is that of a spiritual leader who has seen a lot, he is a member of the old guard and the age is the only thing that prevents him from doing wonders, therefore he becomes a hermit. And the artist Halfvarson himself is a definition of the “old guard”, capable of being at the same time Fasolt and Fafner, vocally speaking: a basso cantante or a basso profondo, according only to his will. His monologue simply filled the dome of the Athenaeum with his low, dark voice, moving between toughness and emotion, he played wisdom, he lived the revelation and, finally, he amazed us all.”




“a Eric Halfvarson che fa un’apparizione che passa tutt’altro che inosservata nei panni del Grande Inquisitore,”

Alessandro Di Profio



“Equally commendable was the casting of Eric Halfvarson as the blind, powerful, ruthless Grand Inquisitor. Vocally strong – borderline strident at times- he commanded the stage acoustically and the duet between him and Furlanetto was not just great singing, but excellent theatre.”

Von Chanda VanderHart



“Die angesprochene Auseinandersetzung mit dem Großinquisitor ergab ein packendes Kräftemessen. Eric Halfvarson war in der Rolle des geheimnisvollen Glaubenswächters die lange Karriere zwar schon anzuhören, aber sein mächtiges Organ gab der Figur ein bedrohliches, wirkungsmächtiges Erscheinungsbild.”

Dominik Troger



“An Intensität kaum zu übertreffen dafür das große Duett der Bässe. Eric Halfvarson als Großinquisitor vom Dienst bewies einmal mehr, dass ihm in dieser Rolle derzeit kaum jemand das Weihwasser reichen kann. Wie sich der körperlich gebrechliche Mönch und der seelisch gebrechliche König aneinanderklammern und das Ungeheuerlichste verhandeln, das muss man erlebt haben. Gelegenheit dazu bietet sich am 25. 2. und am 1. 3.”

             Helmar Dumbs


2014-12-12-Rigoletto en el Palacio de Bellas Artes de MéxicoOpera World.pdf

“Por fortuna no hubo nada despreciable y sí hubo un cantante realmente de clase mundial y cantando en un muy buen día, Eric Halfvarson fue un impresionante Sparafucile, tanto por la belleza de su voz (juicio subjetivo) como por su entonación y sus notas bajas, ese Fa final al cantar su nombre fue perfecto (juicio objetivo).”

Luis Gutiérrez



“Los tres papeles masculinos tembién recibieron interpretaciones soberbias, Eric Halfvarson estuvo rotundo, ásperos, agresivo en el airado papel de Hunding.”

Xavier Pujol



“Causó sensación Eric Halfvarson (Iuri), dominando los comprometidos saltos interválicos de su monólogo y proyectó el sonido más Lleno de todo el reparto.”

Marcelo Cervelló



“Aqui brilla el rol de Yuri, padre del príncipe (Eric Halfvarson) …”

César López Rosell



“En los hombres brillaron las voces graves, especialmente el bajo Eric Halfvarson en el papel del Príncipe Iuri…”

Xavier Pujol


2014-04-15=Opera review/ The invisible city of Kitezh – (

“It was a delight to hear Eric Halfvarson in the role of the young prince’s father. His sonorous voice was as spellbinding as ever (and it was rather a treat to hear it in something other than Don Carlos’ Grand Inquisitor). The audience applause when bows were taken, was extended and well-­deserved.”

Josephine Novak



“Muy notable también, en la tradición del bajo ruso, la noble proyección vocal del bajo Eric Halfvarson, bien conocido en el Liceu y al que hacía tiempo que no oíamos.”

Roger Alier



“.., pero el resto del elenco rindió al nivel esperado: Majestuoso Eric Halfvarson como el dolorido y grave Iuri,”

Javier Blánquez

“…, al mismo nivel que el de un exraordinario Eric Halfvarson (Iuri), tan potente como rotundo.”

Pablo Meléndez-Haddad


2014-04-13-Forum Opera – Opéras récitals concert.pdf

“Pourtant, la distribution est exemplaire, et tout particulièrement Eric Halfvarson (le Prince Youri),”

par Jean-­Marcel Humbert


2014-03-RING-Tielemann-Superconductor Classical and Opera/ Recordings Review/ The Hero on the Podium.pdf

“It helps the drama considerably that that the tenors have good villains to play off of. Erik Halfvarson doubles Hunding and Hagen, bullying through the first role and slithering through the second in a pair of performances that recall the great basses of the past.”

by Paul J. Pelkonen


2014-02-22-Gürzenich-Orchester auf Asientournee/ Ein Konzert wie ein Crescendo | Kultur – Kölnische Rundschau.pdf

“Und Eric Halfvarson als Hunding kommt auch ohne Kostüm als Ereignis herüber. Bedrohlich dunkel sein Bass, stechend der Blick.”

von Bernhard Hartmann



2013-09-Festival 2013 – Ştiri – Festivalul George Enescu.pdf   “Götterdämmerung”

“Adevărata revelație a serii a fost basul Eric Halfvarson, un covârșitor Hagen. O apariție cuceritoare, citind muzica de pe Ipad în loc de tradiționala partitură, o premieră pentru artist,așa cum jovial mi-a destăinuit după concert, a reușit, pe lângă formidabilul cânt, să fie un al doilea dirijor al serii. Pentru că Halfvarson a jucat de la prima la ultima notă, s-a mișcat, a interacționat cu toți soliștii, corul și publicul. A dat intrările la corn și a condus scenic și dramaturgic toată opera, în deplină conformitate cu rolul său, de inițiator și orchestrator al dramei tuturor personajelor. Glasul său este unic, fenomenal. Grave de bas rus, agilitate fantastică, culori nebănuite, tristețe, multă generozitate, blândețe , dar și sarcasmul cel mai dur, viclenia cea mai adâncă a unui personaj negativ.”

“The real revelation of the evening was the bass Eric Halfvarson an overwhelming Hagen. A charming appearance, reading music on the iPad instead of the traditional score, a first for the artist, as jovial confided to me after the concert, managed, besides formidable sing, be a second conductor of the evening. Because Halfvarson played from the first to the last note, moved, interacted with all soloists, choir and audience. He gave inputs to corn and drove the scenic and dramatic all the work in full accordance with its role as initiator and orchestrator of all the characters of the drama. His voice is unique, phenomenal. Grave Russian bass, fantastic agility, unexpected colors, sadness, more generosity, gentleness, and sarcasm is the toughest, deepest a cunning villain.”

            Sabina Ulubeanu,


2013-07-24-Classical Music / The Classical Source / Prom 15/ Daniel Barenboim conducts Die Walküre [Wagner’s Der Ring des Nibelungen/ 2/4] / Classical Music.pdf

“Eric Halfvarson’s Hunding was much more than the one-­dimensionally ruthless husband that the libretto might otherwise suggest. Within his phenomenally powerful bass was manifested an honour and loyalty to his kin, and his menace was all the more chilling because of its nonchalant dispatch.”

Kevin Rogers


2013-05-05-“Don Carlo – ROH May 2013 –”.pdf

“Then enters Eric Halfvarson (The Grand Inquisitor) and I found myself sitting up a bit straighter, bracing myself for one of the most powerful duets in opera: the bass-­off. As he enters, you immediately know that this isn’t Eric Halfvarson entering, this is a 90-­year-­old blind religious dictator. He embodies the role and sounds every bit as powerful and frightening as he looks. His voice… is a power house! The whole atmosphere on the stage thickens with testosterone and bass notes as the scene plays out.”



“Furlanetto and Eric Halfvarson sang the greatest act three scene I EVER heard;Furlanetto of course continues in the greatest tradition of Italian bassos, but Halfvarson was like three cannons, with a positively overpowering rendition..and held that low E very long, where many bassos sort of grunt there. The two of them preserves the kind of singing that we might have heard from the likes of Siepi and Hines, although I never recall hearing an Inquisitor like Halvfarson.(I never saw Hans Hotter.)”

Charles Handleman



“Eric Halfvarson, der Großinquisitor, verdient dieses Attribut ebenso. Mehr noch: Es gibt zurzeit wohl keinen Bass, der die Rolle dieses machtgierigen Gottesmannes intensiver umzusetzen vermag. Ein Priester, der so böse ist wie ein Hagen – das kann nur Halfvarsson so meisterlich vermitteln.”



2012-07-04-Götterdämmerung, Bavarian State Opera, Munich – FT.pdf

“It is almost impossible to believe that Eric Halfvarson joined the production four hours before the premiere, so assured and detailed is his last-minute performance as Hagen.”

By Shirley Apthorp



“Die Bühne schafft mit allerlei artigen Licht- und Schattenspielen in einer der bedrückenden Atmosphäre des Spiels durchaus adäquaten, jeweils mehr oder weniger knapp bemessenen Schachtel die rechte Stimmung – beengt, eingesperrt, aber beengt und eingesperrt von dankbaren Reflektoren für die Stimmen. Selbst dort, wo, anders synchronisiert, der Besuch des Mönchs bei Boris Godunow gespielt werden könnte, schaffen Eric Halfvarson und René Pape packende Momente: Halfvarson, der natürlich auch den Pimen singen könnte, macht hier als Großinquisitor nicht dem Zaren, sondern dem gleich ohnmächtig-mächtigen Philipp II. angst und bange.”



“Regisseur Daniele Abbado zeigte die politischen, kirchlichen und privaten Machtspiele am spanischen Hof distanziert analytisch, ließ kaum Wärme aufkommen und arrangierte schöne, farblich fahle Bilder (Kostüme Carla Teti). Hier schickt der gespenstische Großinquisitor (Eric Halfvarson, bösartig) Ketzer auf den Scheiterhaufen und herrscht sogar über den zerrissenen, despotischen König Philipp II. (René Pape, Weltformat, nicht nur in seiner großen Zweifelsarie), der sich nicht scheut, den eigenen Sohn Don Carlo zu opfern (Ramón Vargas hatte vielleicht nicht seinen besten Tag als Strahletenor).”



Duell der Bässe

“René Pape stattete den König Philipp mit einem mächtigen, finsteren, etwas ungeschlachten Bass aus und fand im nicht minder kraftvoll und autoritär orgelnden Großinquisitor von Eric Halfvarson einen ebenbürtigen Gegenspieler: Das Duell der beiden großen Bässe gehörte zu den Höhepunkten des Abends.”


2012-04-28-BBSouth Florida Classical Review » Blog Archive » Singers provide a riveting night of opera with New World Symphony in “Bluebeard’s Castle”.html

“A commanding figure in a black cape and salt-and-pepper beard, Halfvarson, known for some of the more intimidating Wagner and Verdi roles, brought not only power but pathos to the role of the terrifying nobleman. He could be dignified and stentorian, when displaying the realm over which he rules, ominous when singing of the gloomy castle’s secrets, terrifying when urging Judith to stop asking for the keys to the doors. Yet throughout there was an underlying sadness at his own intimidating power and awful past, and even when he sang softly–asking Judith toward the end to simply love him and ask no more questions—his voice, with its biting articulation, radiated force.”

By David Fleshler


2012-04-28-BB-El inexorable abrazo del Duque Bartók « MIAMI ☼ CLÁSICA.html

“This remarkable night toned the remarkable performance of two international stars, a ductile, brilliant Judith by  Michelle DeYoung  and the colossal Blue Beard by Eric Halfvarson.”

            sebastian spreng



“With his plush voice and appreciation for every syllable of text, Eric Halfvarson did stylish, sterling work as Rocco, the common man with an uncommon conscience.”

Posted by Tim Smith


2012-03-17-Fidelio-DC-WashTimes Communities.html

“Veteran bass Eric Halfvarson sang the role of the good-natured and much put-upon Rocco with wit, humor and compassion,”




“und Eric Halfvarson (Großinquisitor) als Klang und Gestalt gewordener Albtraum – idealer lässt sich das Vier-Stunden-Drama nicht bestücken.”

            Markus Thiel



“Den Reigen exquisiter tiefer Männerstimmen vervollständigten Eric Halfvarson als fulminanter Grande Inquisitore.”

von Alexander Meissner



“Nachdem Ain Anger in den letzten Serien einen sehr jungen Hunding verkörperte, der die Brutalität des Charakters eher subtil verkörperte, gab an diesem Abend Eric Halfvarson sein Rollendebüt an der Staatsoper. Der Amerikaner ist ein „schwarzer Bass“ und er war wirklich Furcht einflößend. Jeder konnte sich vorstellen, wie sehr Sieglinde in der Ehe gelitten hat. Dieser Hunding war ein ebenbürtiger Gegenspieler des Siegmund.”

           Kurt Vlach


2011-06-17-Parsifal V (17. Juni 2011) – Wagnertage Budapest.pdf

“Die beste sängerische Leistung des Abends bot der amerikanische Bass Erich F. Halfvarsonals Gurnemanz.”

von Kurwenal



“Wagner-Fans, die auch heuer wieder zu den semikonzertanten ‘Parsifal’-Aufführungen in den Budapester Palast der Künste kamen, erwartete abermals eine Vorstellung, die über weite Strecken veritables Festspielniveau bewies. Dies ist zum einen Eric Halfvarson als Gurnemanz zu verdanken, der auch im dritten Akt noch aus dem Vollen schöpfen kann und so die Partie von Beginn an wortdeutlich mit langen Legatobögen, imposanten Spitzentönen und differenziert eingesetzter Dynamik zu gestalten vermag.”

Kritik von Dr. Rainhard Wiesinger



“Die halbszenischen Wagner-Aufführungen in Budapest zählen schon seit mehreren Jahren zu den Fixpunkten vieler Opernreisender.  Heuer bot man in dem stimmungsvollen Ambiente des optisch und akustisch gleich beeindruckenden Palasts der Künste zwei Mal den gesamten „Ring“ sowie zum Ausklang der Wagnertage zwei Aufführungen des „Parsifal“, die vor allem wegen des Rollendebüts von Eric Halfvarson als Gurnemanz internationales Interesse rechtfertigten. Halfvarson ist vor allem als Hagen aus dem heutigen Opernbusiness nicht mehr wegzudenken, der Gurnemanz dürfte eine neue Paraderolle des amerikanischen Künstlers werden:  Er verfügt über die vokale Autorität und die scheinbar unerschöpflichen Kraftreserven, die ihm auch im Karfreitagszauber noch Legatobögen ermöglichen, wo viele seiner Kollegen oft nur mehr mit der Länge der Rolle ringen. Exzellent ist auch in  dieser Rolle wieder die Textgestaltung, die natürlich Hand in Hand geht mit einer hochmusikalischen Phrasierung, die die klug aufgebauten Monologe zu den  Höhepunkten der Aufführung machten.”

Kritik von Dr. Rainhard Wiesinger


2009 – 06 Parsifal Budapest: file:///Users/halfvarson/REVIEWS/2009-06-Parsifal-neuermerker-id_criticism,2116.html

“Eigentlich hätte man diese Aufführung „Gurnemanz“ nennen können, nach der Rolle, die ohnehin das Meiste zu leisten hat. Was Eric F. Halfvarson an diesem Abend als Gurnemanz bot, und es war wohl sein Bühnendebut in dieser Rolle, war einfach hervorragend. Er bewegt sich als Wagner-Bassist derzeit in der höchsten Gipfelregion. Nicht nur hat er ein herrlich klangvolles Timbre, er kann seine Stimme bei sehr guter Diktion auch facettenreich phrasieren und dabei die langen Bögen, die der alte Gralsritter ab und an zu singen hat, wunderbar ausformulieren. Unglaublich, wie eindringlich er Parsifal die Schuld am Tod des Schwans vor Augen führt. Immer ging von seiner Darstellung Ausdruck und Spannung aus. Es war ein Genuss, Halfvarson zuzuhören und -zusehen. Allein das alberne Hantieren mit der Brille, schon 2006 unangenehm aufgefallen, hätte die Regie ihm schenken können. “

Klaus Billand


“ Insgesamt waren es vor allem aufgrund der singulären Leistung von Eric F. Halfvarson aber zwei würdige „Parsifal“-Aufführungen im Nationalen Konzerthaus Béla Bartók.   “

           Klaus Billand