NEWS
HERE’S WHAT’S HAPPENING:
11/5/24
Eclectic, Dynamic, Traditional, Modern
“The only constant in life is change,” is attributed to the Greek philosopher Heraclitus. I’ve been thinking about this quite a bit from a life point of view, but also a career one. The work of an opera singer is usually three-fold: perform the work before you, prepare the works to come, and work to find more work so that the cycle can be repeated. Each day we are often in rehearsal, coachings, lessons, hustle-mode, and/or some form of panic because one, or more of these things are out of balance.
While there are a handful of artists who have their performing life planned out five years ahead, most singers live season to season, often picking up last-minute jobs along the way. It’s a constant reminder that we have to be ready for the moments we know we’re in, but also have an eye (and our vocal cords) towards a potential future. We also know that we only have the work that we have and as that gets closer and closer to ending, the combination of trying to be in the work, planning and hoping for future work, while also trying to wrap one’s head around what might happen if the work ends can certainly be panic inducing. But then I remember, “the only constant in life is change.”
So, how can I use that to my advantage? First, just like the career can change, so can I. I’ve been fortunate to be busy enough that I haven’t spent a great deal of time thinking about my “brand.” But with some shifts and changes happening in my life and career, I have been sitting with the idea of “what makes me, me?” I’ve never fit neatly into a physical or vocal box, so it often feels frustrating to try and share who I am in one or two arias. I have had the luxury of singing a wide range of repertoire that spans many years and crosses all sorts of vocal lines. Mostly, with success.
Taking that all in, I decided that instead of trying to craft, create, and imagine some type of “brand,” I would celebrate what I am: eclectic, dynamic, traditional, and modern, and let that BE my brand. So, while I am not changing per se, I am changing. Over the course of the next few weeks and months, expect to see some changes on my website, of the repertoire I’ll be singing, and how I will be navigating my operatic career’s future!
Stay Tuned!
PRESS
Soloist in the Princeton Symphony Orchestra’s Mozart “Requiem”
McKeever excelled at lyrical upper-register passages, especially in the “Recordare” quartet.
Towntopics.com/November 2023/Nancy Plum
In Concert at the Festival Casals de Puerto Rico
En la segunda aria-canción, “A Woman Is A Sometime Thing” se destacó el barítono afroamericano Eric McKeever, con su grácil presencia escénica y dominio del fraseo en el estilo del blues y el jazz auténtico… Los números subsiguientes… fueron seguidas por una interpretación magistral del cantante-actor Eric McKeever del conocido hit “I Got Plenty o’ Nuttin.”
(In the second aria-song, “A Woman Is A Sometime Thing” African-American baritone Eric McKeever stood out, with his graceful stage presence and mastery of phrasing in the style of blues and authentic jazz… The subsequent numbers… were followed by a masterful interpretation of the singer-actor Eric McKeever of the well-known hit “I Got Plenty o' Nuttin'.)
Elnuevodia.com/June 2023/Luis Enrique Julia
Michele in On Site Opera’s “Il tabarro”
All the principals were excellent. McKeever had a sense of dignity in his singing that made Michele sympathetic. Michele’s “Nulla! Silenzio!”, so direct as to make more than just lovely singing of vocal phrases, but the kind of monologue that hits directly in the mind and heart.
New York Classical Review/May 2023/George Grella
“The third member of the love triangle, Giorgetta’s husband Michele, performed by Eric McKeever, showcased the baritone’s ability to project through music the essence of human passion and intense emotions that drove the opera’s tragic events. McKeever’s magnificent voice resonated with melancholy and resignation, capturing the weight of Michele’s past and acceptance of life’s sometimes harsh realities. In “Nulla! Silenzio!” McKeever trembled with grief and rage as he poured out Michele’s heart-wrenching emotions.
TheFrontRowCenter.com/May 2023/Ed Kliszus
Baritone Eric McKeever’s booming voice is utterly convincing as he glowers and rages like an angry sea god.
Blogcritics.org/May 2023/Jon Sobel
This is one opera with no villains, but Eric McKeever as the betrayed husband had music which could fit Scarpia–and his torment from first scene of doubt to final denouement was played with a dark threatening baritone.
ConcertoNet.com/May 2023/Harry Rolnick
Baritone Eric McKeever was outstanding as the captain of the barge, projecting a sense of kindliness both toward the stevedores in his employ and toward his wife, with whom he once shared tender loving moments. He succeeded in arousing our sympathy.
Voce di Meche/May 2023/Meche Kroop
Charlie in HERE Arts Center’s “Looking at You”
As Rix employee, Charlie, Eric McKeever offered a muscular baritone and showed off superb patter chops.
New York Classical Review/September 2019/Eric C. Simpson
Eric McKeever is a baritone with a beautiful sound… he is definitely a singing actor worth hearing again.”
BassoBuff.com/September 2019/Christine Chass
David in Baltimore Concert Opera’s “L’amico Fritz”
Let’s talk about David, the local rabbi, who is sung by baritone Eric McKeever. McKeever is just magnificent in this role, adapting himself to the comedic challenges while bursting with the energy of a man with a plan. His is a stand-out performance among performers who are all top-notch. His rich baritone doesn’t have that sort of sharp quality you sometimes find in the lower registers.
DC Metro Theatre Arts/November 2018/Darby DeJarnette
Germont in Pacific Opera Project’s “La Traviata”
When Eric McKeever joined his colleagues in Act II, patrons moved to the front of their seats. His strong, steel-girded voice was most impressive but never acidic. His patronizing behavior toward Violetta moderated as soon as he realized that she was a woman of more substance than he expected. Later, in the final act, his attitude changed completely when he comprehended that she would never live to change anything. I'm sure we will hear a great deal more from McKeever.
Broadway World/October 2018/Maria Nockin
Sharpless in Opera Columbus’ Madama Butterfly
Also, impressive… baritone Eric McKeever, commanding as the consul Sharpless.
The Columbus Dispatch/October 2018/Peter Tonguette
The Speaker in Florentine Opera’s “The Magic Flute”
Baritone Eric McKeever gave a strong supporting performance.
Milwaukee Journal Sentinel/May 2018/Elaine Schmidt
Malatesta in Anchorage Opera’s “Don Pasquale”
The scheming Doctor Malatesta is played with barely-suppressed laughter by baritone Eric McKeever, whose portrayal is quick and witty, oozing charm in every scene. Both men's deep, strong voices are a joy to listen to.
Anchorage Press/November 2017/Rob LeFebvre
Baritone roles in Experiments in Opera’s “Flash Operas”
In “Mandela Was Late”, Eric McKeever channeled a powerful and compelling gravitas in the face of inane inhumane racism and petty bureaucracy.
Theatretimes.com/May 2017/Amanda Boekelheide
McKeever was a stately and refined Mandela with a rich warmth and lyricism in his voice.
Icareifyoulisten.com/June 2017/Lauren Alfano