© Robert Catto

Caitlin Hulcup


Management: Australasia

Penelope,  The Return of Ulysses ROH
…Caitlin Hulcup’s musicality, her depth of both tone and interpretation, that made one of the most significant impressions of the evening. If Hulcup really did learn the role from scratch in a weekend, this an achievement all the more magnificent; certainly one aches to hear more of her in this repertoire, so stylish  was her delivery. Her diction, too, was remarkable.
Colin Clarke, http://seenandheard-international.com, 2018

Iseult, Le Vin Herbé, Welsh National Opera
“…Caitlin Hulcup is a magnificent Iseult. Her voice has an expressive richness throughout her mezzo range." 
Rian Evans, The Guardian,  February 2017

Irene, Handel Theodora 
“It is difficult to know what to commend most strongly - ... the glowing smoothness of contralto Caitlin Hulcup, or simply the quality of the score that the composer thought his best. ... Caitlin Hulcup as Irene, leader of the persecuted Christians, sings with a sound of rounded firmness, fluid mellifluousness and natural attractiveness.”
Peter McCallum, The Sydney Morning Herald, December 2016

Handel , Ariodante, Scottish Opera
“ …she has all the right musical instincts. Her stylish decorative command was much in evidence here, but she also respected the essential simplicity of Scherza Infida. 'Dopo notte' was, rightly, the crown of the evening, giving us an adrenaline-fuelled, spirit of the moment sense of a singer at the top of her game, relishing the challenges Handel sets and traversing them with aplomb. Add to this Hulcup's dramatic antennae- dignity, deportment, demonstrable stage presence with not a hint of androgeny- and you have an important artist in the making. .”
Andrew Clark, Opera Magazine, 2016

Caitlin Hulcup has established her international profile on some of the world's leading stages; 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. 

Recent concert engagements have included Mahler Des Knaben Wunderhorn with the Sydney Symphony Orchestra conducted by Mark Wigglesworth, Beethoven Missa Solemnis with Martin Haselböck and the Wiener Academie and Rossini Stabat Mater with the Hanover Band conducted by Benjamin Bayl.   Having performed Orfeo (Orfeo ed Euridice, Gluck) for Scottish Opera in 2015, Caitlin returned there the following year in the title role of Ariodante. In 2016 she also sang Idamante (Idomeneo) with Garsington Opera, Irene (Theodora) for Pinchgut and Maher 2 with Sydney Symphony Orchestra. In 2017, Caitlin revived her Octavian for the National Centre for Performing Arts in Beijing, and sang the roles of Iseult in Frank Martin’s Le Vin Herbè for Welsh National Opera and Dido (Dido and Aneas) with the Hong Kong Philharmonic.   She also performed at the Barbican, London later in the year in Mahler’s Symphony No. 2, appeared as a vocal soloist at the Huntington Festival for Musica Viva and sang a programme in the  Oxford Lieder Festival featuring fin de siecle Viennese composers.

Engagements in 2018 include Penelope (Il Ritorno d’Ulisse) for ROH at the Round House January, Idamante (Idomeneo) in for TNSC Lisbon conducted by Christian Currnyn, Micah (Samson) with the Dunedin Consort, Romeo (Capuletti ed I Montecchi) for Victorian Opera and Beethoven Symphony 9 and Ravel Mallarmé Songs for the SSO.

In Australia, Caitlin has performed as Rosina (The Barber of Seville), the title role of Carmen,as 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 2011 and the role of Irene Theodora 2016 with Erin Helyard, as well as Gluck's Iphigenie en Tauride in 2014 Lindy Hume and Anthony Walker, all of which were released to critical acclaim on CD.


Caitlin Hulcup is managed by Graham Pushee: graham@artsmanagement.com.au
February 2018
  This biography is for general information purposes only and not for publication.
Please contact Arts Management for an up-to-date biography to suit your needs.