Cedric Berry

baritone

The Industry Credits

Biography

Cedric Berry wields “a bass-baritone of considerable power and agility” (The Chicago Tribune), projecting “machismo and a voice of fabulous mettle to the theatre’s last row….tossing off difficult passagework and deploying dazzling thunderbolts of sound at the top of the range” (Voix des Arts). He received his music diploma from Interlochen Arts Academy, and both his Bachelor’s and Master’s degrees from the University of Southern California. He gained his first professional experience as a Resident Artist with Los Angeles Opera, performing the roles of Fiorello in The Barber of Seville, Schaunard in La Boheme, Second Philistine in Samson et Dalila, Wagner in Faust, Crébillon in La Rondine, and First Mate in Billy Budd. Other roles include the title role in Puccini’s Gianni Schicchi, Collatinus in Britten’s The Rape of Lucretia, Falstaff in Nicolai’s Merry Wives of Windsor, and Sarastro in Mozart’s Die Zauberflöte all with USC Opera, Méphistophélès in Gounod’s Faust with Pacific Repertory Opera, Leporello in Mozart’s Don Giovanni with UCLA Opera, Dewaine in John Adams’ I Was Looking at the Ceiling and Then I Saw the Sky with Long Beach Opera, and The Good Man / Baron Carrefour in Anne LeBaron’s Crescent City with The Industry. Cedric made his first European stage appearances as Jake in a concert version of Gershwin’s Porgy and Bess in Madrid, and Cuenca, Spain. He also appeared with Los Angeles Opera at the Savonlinna Opera Festival singing the role of First Nazarene in Salome, and sang a concert in tribute to Paul Robeson for the Banlieues Bleues festival in Paris, France.

On the concert stage he has appeared with Bakersfield Symphony, Fresno Philharmonic and Santa Fe Symphony in Handel’s Messiah, Pacific Symphony in Mozart’s Great Mass in C minor, Arizona Symphony as Balthazar in Amahl and the Night Visitors, the Telemann Chamber Orchestra in a performance of Handel’s Messiah in Tokyo, Japan and of Bach’s Christmas Oratorio in Osaka, Japan, the Luckman Jazz Orchestra singing Duke Ellington’s Scared Songs, the New West Symphony as Zuniga in Carmen, the Southwest Chamber Orchestra in Wuorinen’s The Haroun Songbook, the Pasadena Pops Orchestra in Jerome Kern’s Showboat Symphonic Suite, the California Philharmonic in Gershwin’s Porgy and Bess Concert Suite, and the Los Angeles Philharmonic in Michael Torke’s Book of Proverbs. He has been the recipient of several awards including first place in LA’s Artist of the Future Competition, the Italian Educator’s Vocal Competition, and the Metropolitan Opera Western Region Competition. Notable engagements include the lead role of Kublai Khan in Invisible Cities, an opera which was a Pulitzer Prize Finalist. The production was deemed Best of the year by the Los Angeles Times. The documentary of the production received an Emmy Award and both an audio CD and DVD of the production were recently released. He also recently debuted the role of Ron (King Oberon) in Chicago Opera Theatre’s adaptation of Purcell’s The Fairy Queen. He received great acclaim in many publications including The Chicago Tribune, Musical America and Voix des Arts.

Meet Cedric Berry

Press

The cast… with Cedric Berry a standout as a quietly stern Secret Police Agent.

, Opera News

The first half of the concert finished with the colossal power and lyricism of Cedric Berry’s voice as he grandly empowered Puccini’s “Te Deum” aria from Tosca.

, Huffington Post

As excellent as their voices were, their co-star Cedric Berry sat on a plane unto himself. Less a singer and more an irresistible force of nature, Berry is a magnificent artist of astonishing expressive and stylistic range that is one of Southern California’s great – and arguably overlooked – treasures. It’s a rarity to hear someone who manages to fuse a natural genius for singing with an effortless mastery of stage presence. Berry’s interpretation of Carmen’s “Toreador Song” and Showboat’s “Old Man River” left one grasping at superlatives to do it justice. These were performances that for once truly merited standing ovations; acts often made meaningless by the frequency of their use, but here rightfully earned. It is no exaggeration to say that the greatest bass-baritone of our time may very well be working right under our noses in Los Angeles

, Crescenta Valley Weekly

Bass-baritone Cedric Berry’s intense characterization of the Good Man brilliantly encapsulated the destructive rage that results from injustice.

, LA Times

Bass-baritone Cedric Berry projected machismo and a voice of fabulous mettle to the theater’s last row…………Berry raged rousingly in ‘Arise, ye subterranean winds,’ tossing off the difficult passagework and deploying dazzling thunderbolts of sound at the top of the range………….the sighs of surrender and warm applause made it clear that Berry’s debonair wooing won over hearts in the audience. His was the best singing of the evening, an unforgettable performance by a star on the rise.

, Voix des Arts

Berry matched her in vocal quality and dramatic presence, wielding a bass-baritone of considerable power and agility for the contrite Ron’s bravura air ‘Arise, ye winds.’

, Chicago Tribune

The lineup spared little expense. I can’t imagine that a stage has before been shared by noted operatic baritone Nathan Gunn, three likely future opera stars — soprano Jessica Rivera, mezzo-soprano Peabody Southwell and bass-baritone Cedric Berry — along with the mesmerizingly unclassifiable Timur Bekbosunov, Theo Bleckmann and Craig Wedren
Adams’ “Ceiling/Sky,” written in wake of the 1994 Northridge earthquake, chillingly presages the issues of the Black Lives Matter movement. In the numbers here, Gunn served as the abusive cop, Mike, and Berry as his deeply moving victim, Dewain. Adams conducted as if each urgent downbeat were a punch in the ribs. Two years ago, Long Beach Opera gave the neglected score a reading. Increasingly timely, it needs a persuasive new production, immediately.

, LA Times

Dewain’s Song of Liberation and Surprise,” a slow ballade from the second half of the show, gave me goosebumps for its entire duration, not least because of the plaintive clarity of Cedric Berry’s voice.

, New Classic LA

The voices were magnificent. Cedric Berry, a major artist, displayed a booming bass and dazzling coloratura as Ron, all while acting with power and conviction.

, Gazettes