Tenor Eric Ferring, a native of Dubuque, Iowa, graduated magna cum laude from Drake University in 2014 with his Bachelor of Music in Vocal Performance and The Boston Conservatory in 2016 with his Master of Music in Opera Performance under the tutelage of Dr. Rebecca Folsom.

Mr. Ferring’s original engagements for the COVID-19 shortened 2019/2020 season include his debut with Santa Fe Opera, singing Tamino in Die Zauberflöte, which he was also scheduled to perform with North Carolina Opera and New Orleans Opera. He also returned to Lyric Opera of Chicago for his second season as a member of the Ryan Opera Center, where his assignments include performances of the Older brother in Dead Man Walking, Tchaplitsky in Queen of Spades, the Sergeant in Il barbiere di Siviglia, and he appears as a tenor soloist in the Lyric’s Three Queens Concert featuring Sondra Radvanovsky. He also covers Count Almaviva in Il barbiere di Siviglia, Don Ottavio in Don Giovanni, and the Major Domo in Queen of Spades. In concert, he joins the Jacksonville Symphony for Handel’s Messiah.

Last season, Eric Ferring joined the Ensemble of the Ryan Opera Center at the Lyric Opera of Chicago. Performances during the season include his principal role appearance as Lurcanio in Ariodante, for which the Chicago Tribune declared him “the most noteworthy solo breakthrough of the production”, as well as the Young Servant in Elektra and Giuseppe in La traviata. Ferring also covered roles in Idomeneo (High Priest), Il trovatore (Ruiz), Cendrillon (Dean of the Faculty), and La traviata (Gastone).  With the Evansville Philharmonic he performed Beethoven’s Ninth Symphony and during the summer of 2019, he participated in both the prestigious Académie Festival-Aix and Verbier Festival.

During the 2017-2018 season, as a Pittsburgh Opera Resident Artist, Mr. Ferring performed as Spoletta in Tosca, Basilio/Curzio in Le nozze di Figaro, Ricky in The Long Walk, The Protagonist in the world premiere of Ashes & Snow in collaboration with American Opera Projects, Flask in Moby-Dick, and Nemorino in the student matinee of in L’elisir d’amore. During the tenor’s first year as a Pittsburgh Opera Resident Artist, he performed as Gastone in La traviata, as Fourth Jew in Salome, and Señor Alcalde in the world premiere of The Summer King. Mr. Ferring was an Apprentice Singer at Santa Fe Opera where he covered Oronte in Alcina and was awarded the 2017 Richard Tucker Memorial Scholarship.

Heralded by the Boston Musical Intelligencer for being “powerful and direct…while conveying a range of conflicting emotions with distinction and subtlety” and by having a “bold precision to his substantial sound,” Mr. Ferring has been seen at many prestigious summer programs and received a number of awards.

In the 2015-2016 summers, Mr. Ferring appeared at Opera Theatre of Saint Louis as a Gerdine Young Artist performing Parpignol in La bohème, Zahir in Shalimar the Clown (world premiere), as well as covering Scaramuccio inAriadne auf Naxos and Prunier in La rondine. While at OTSL, Mr. Ferring received a career award from the Richard Gaddes Fund for Young Artists given in recognition of his great vocal potential. Mr. Ferring has also been a Studio Artist at Wolf Trap Opera performing Lacouf in Les mamelles de Tirésias and covering Remendado in Carmen. Mr. Ferring was a Young Artist at both the Seagle Music Colony and Cedar Rapids Opera, and performed numerous roles with both companies.

A multi-talented artist, Mr. Ferring is also an accomplished conductor, having conducted To Hell and Back, Old Maid and the ThiefA Chorus LineSweeney ToddAnything Goes, and A Little Night Music, as well as assistant conducting productions of Iphigénie en Tauride and Le nozze di Figaro.

Mr. Ferring received Third Prize at the 2017 Gerda Lissner Foundation International Voice Competition and has received three Metropolitan Opera National Council Auditions District Encouragement Awards, as well as most recently a Regional Encouragement Award from the Great Lakes Region. Mr. Ferring took 2nd Place in the 2014 Hal Leonard Vocal Competition:

Lyric Opera of Chicago – Ariodante

The most noteworthy solo breakthrough of the production belonged to tenor Ferring – a first-year member of the Ryan Opera Center – as Lurcanio. The bright youthfulness of his instrument and the unyielding ardor of his delivery perfectly suited the character’s impetuousness. Listen to him fervently dispatch “Il tuo sangue, ed il tuo zelo,” and you’re encountering an emerging tenor of considerable promise.”

Howard Reich, Chicago Tribune

“The evening’s other major find besides Miller was tenor Eric Ferring, who is only in his first year at the Ryan Opera Center and bursting with talent. With his dexterous tenor voice and flair for baroque ornamentation, he made the most of the role of Ariodante’s brother, Lurcanio.”

Kyle MacMillan, Chicago Sun Times

Pittsburgh Opera – Savage Winter

Eric Ferring, the tormented “Protagonist,” sang the role with a vocal opulence that came as no surprise. The music encompasses his finely burnished and powerful head tones and solid lower register in places and allows for occasional fortissimo and delicately delivered pianissimo passages, but for the most part lies comfortably in the middle and provides many opportunities for the display of his voice at its best. He sang the role with a compelling sympathy and a heart-rending understanding of the complex character – sometimes flat on his back or belly, and once from under a mound of bedclothes. Acting the role relies largely on facial expression and body language, and while it’s difficult to imagine a singer not being nervous during the first undertaking of such a role, it hardly showed. The audience was with him throughout, maintaining the art song recital gatherings’ tradition of total silence until the final note faded away – then burst into hearty applause, cheers and whistles. Mr. Ferring modestly attempted to share the ovation with the composer, director, musicians, and designers, and the crowd politely indulged him, but his was by far the finest achievement of the evening, and his listeners clearly wanted him to know it in no uncertain terms.”

George B. Parous, Pittsburgh in the Round

“Mr. Ferring’s softer dynamics were wonderfully nuanced. He created his own shades of bitterness with Mr. Cuomo’s music, which moved from gentle lyricism and folk song-like melodies (“Linden Tree” was a highlight) to more aggressive, punctuated lines (”My heart is like a sentinel” was also a standout) and back throughout. ”

Jeremy Reynolds, Pittsburgh Post-Gazette

“Ferring navigated the dramatic challenges of being the only performer on stage for 75 minutes. His commitment to the role and his endurance were impressive, as was his dulcet timbre in the higher part of h is range.”

Elizabeth Bloom, Opera

Pittsburgh Opera – The Long Walk

Eric Ferring, the gifted and reliable tenor, was Ricky, a role that left the listener wanting his part to be larger.

George B. Parous, Pittsburgh in the Round

Pittsburgh Opera – Le nozze di Figaro

Eric Ferring used his bright tenor sound and canny stage aptitude to differentiate the two smaller roles of the music teacher Don Basilio and the lawyer Don Curzio.”

Robert Croan, Pittsburgh Post-Gazette

“There are two tenor roles in the opera (Don Basilio and Don Curzio), each with comparatively little to do, but with both in the hands of Eric Ferring, they took on a prominence that was out of the ordinary.”

George B. Parous, Pittsburgh in the Round

 Pittsburgh Opera – Tosca

In supporting roles, Eric Ferring’s bright, penetrating tenor was a standout as Scarpia’s henchman Spoletta.”

Robert Croan, Pitsburgh Post-Gazette

Boston Conservatory – Flight

Eric Ferring’s heroic tenor has an unshakable core that brings a bold precision and control to his substantial sound.”

Sudeep Agarwala, The Boston Musical Intelligencer

Boston Conservatory – The Rake’s Progress

Eric Ferring’s Tom Rakewell was likewise powerful and direct, in a part that gave more range to conflicting emotions and a dramatic display of decline, which he conveyed with distinction and subtlety.”

Vance R. Koven, The Boston Musical Intelligencer