© Robert Catto

Caitlin Hulcup


Management: Australasia

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

“…Australian mezzo Caitlin Hulcup, though unflatteringly wardrobed, sings the soprano role of Iseult so arrestingly and with such beauty of tone and expression that one simply lets the music blot out the visual image.”
Stephen Walsh, theartsdesk.com, 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

Rossi Orfeo, Royal Opera House Shakespeare's Globe
“…But the evening’s most distinguished performance came from the Australian mezzo-soprano Caitlin Hulcup as Orpheus’ rival Aristaeus (another castrato role): his-her mad scene after Eurydice’s death brought an otherwise absent note of emotional urgency to the proceedings and momentarily made me feel that the opera had something sincere to communicate.”.
Rupert Christiansen, telegraph.co.uk, 24 October 2015

“…Another outstanding performance comes from Caitlin Hulcup as Aristeus... The tragi-comic role includes a substantial mad scene, but Hulcup is as dazzling in comedy as in pathos, and has a terrifically caressing voice too”. 
Warwick Thompson blouinartinfo.com 

Orfeo, Orfeo Ed Euridice Scottish Opera 2015
"... there’s fine singing to enjoy. The Australian mezzo Caitlin Hulcup has impressed me for years with her rich, full and distinctive timbre, and she sings Orfeo with commendable intensity ...Her flaming row with Lucy Hall’s plangently sung Euridice distraught and baffled by Orfeo’s coldness, is the emotional centre of the show.
Richard Morrison, The Times

Iphigenie, Iphigenie en Tauride Pinchgut Opera 2014 
“Iphigénie, mezzo soprano Caitlin Hulcup is quite remarkable.  A woman on the verge, indeed, but every gesture of voice and body is eloquent and controlled.  Her instrument is a pure stream of liquid silver, flowing in the arias, nuanced in the crucial Gluckian recitative.  Ô malheureuses Iphigégie is heart-rending…powerfully sung and staged"
Clive Paget, Limelight Magazine, 03 December 2014

Calbo, Maometto secondo,  Garsington Opera , Wormsley
“….Hulcup delivers her trouser-role with none of the usual irritating faux-masculine mannerisms, and with an artistry to take the breath away. She negotiates the most awkward leaps as if nothing could be more natural..."
Michael Church, The Independent, 10 June 2013

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 Des Knaben Wunderhorn with the Sydney Symphony Orchestra conducted by Mark Wigglesworth, Mahler Symphony No. 8 with the Royal National Scottish Orchestra, and Beethoven Missa Solemnis with Martin Haselböck and the Wiener Academie.

Having performed as 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.  This year, Caitlin revives her Octavian for the National Centre for Performing Arts in Beijing, and sings the role of Iseult in Frank Martin’s Le Vin Herbè for Welsh National Opera. She sings at the Barbican, London later in the year in Mahler’s Symphony No.2. and appears as a vocal soloist at the Huntington Festival for Musica Viva. She is also invited to sing in the 2017 Oxford Lieder Festival featuring fin de siecle Viennese composers.

In Australia, Caitlin has performed Rosina (The Barber of Seville), the title role of Carmen, 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 2001 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
June 2017
  This biography is for general information purposes only and not for publication.
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