Praised by The New York Times for his “beautiful, well-supported tone and compelling expression,” American countertenor Eric Jurenas has been featured on some of the world’s largest and most reputable stages. His dedication to baroque-era music, newly-created works, and everything in between, has established him as an influential voice.

Engagement highlights have included roles at The Metropolitan Opera, Royal Opera House - Covent Garden, Wiener Staatsoper, Semperoper Dresden, Komische Oper Berlin, Bayerische Staatsoper, Opera Philadelphia, Sante Fe Opera, The Glimmerglass Festival, and on Broadway, as well as performing with The Vienna Philharmonic, Orchestra of the Age of Enlightenment, Boston Baroque, and the Bayerische Rundfunk, among many others.

Following his 2022 Metropolitan Opera debut in Brett Dean’s Hamlet, in 2024 he returned to the Met in the new production of El Niño by John Adams, and in the remount of The Hours by Kevin Puts, both to critical acclaim. The 2023-24 season also saw him in the role of Prince Orlovsky in the new Barrie Kosky production of Die Fledermaus in a return to the Bayerische Staatsoper in Munich; in the widely acclaimed new Vasily Barkhatov production of Le Grand Macabre (Prince Go-Go) by György Ligeti at Oper Frankfurt; and in the world premiere production of Comet/Poppea (Nero/JBH), a new opera concept project by Yuval Sharon and The Industry in Los Angeles.

Appearances at the Royal Opera House Covent Garden have included Narcisco in Handel’s Agrippina , and Andronicus in Vivaldi’s Bajazet with the Olivier Award - winning ensemble, Irish Baroque Orchestra in a coproduction with Irish National Opera. Also with Irish National Opera, he premiered the dr amatic role of ‘Man’ in Donnecha Dennehy’s critically - acclaimed opera The First Child which has also been recorded for commercial release. His two engagements at the Wiener Staatsoper included a starring role (Angel) in the world premiere of Olga Neuwirth’ s grand opera Orlando. Eric performed in Péter Eötvös’ Three Sisters (Natascha) at Oper Frankfurt; Handel’s Poro (Alexander) at the Komische Oper Berlin in a production by legendary stage director Harry Kupfer; a new Barrie Kosky production of Handel’s Agrippina (Narciso) at the Bayerische Staatsoper in Munich; an international tour of Handel’s Rinaldo with Jean - Christophe Spinosi and Ensemble Matheus, Handel’s Saul at the Göttingen Handel Festival, the role of La Speranza in the much - celebrated Nikolaus Habjan production of Monteverdi’s Orfeo at the Semperoper Dresden; and joined the Orchestre de l’Opéra Royal of Versailles for various performances of The Three Countertenors. Other operatic engagements include productions at Theater an der Wien, Badische s Staatstheater Karlsruhe, The Santa Fe Opera, Michigan Opera Theatre, Opera Philadelphia, The Glimmerglass Festival, and Opera Lafayette, in works ranging from Handel’s Oreste and Vivaldi’s Catone in Utica, to Morrison’s Oscar and Dorman’s Wahnfried. He was recently seen at Broadway’s Belasco Theatre in the Tony Award - nominated play Farinelli and the King as the Voice of Farinelli.

A frequent concert performer and recitalist, he has been featured in programs of varied repertoire. Highlights include a world premiere work by Aribert Reimann, Sinnig zwischen beyden Welten, with Daniel Barenboim at the piano at the Barenboim-Said-Akademie in Berlin, and the monodrama La dolce morte by Suzanne Farrin with International Contemporary Ensemble at the METLiveArts series at the Metropolitan Art Museum in New York City, a performance of which was released on CD and for digital download by New Focus Recordings. Recent solo recitals include a program of Purcell, Ravel, and Mahler at New York’s Lincoln Center; British Heroes–a program of Handel’s English repertoire with La Chapelle Harmonique–at the Palace of Versailles; and Zeit steht still–a program of English lute song–at the Innsbruck Festival of Early Music. A frequent performer of Handel and Bach, he has performed countless works with both modern symphony orchestras and baroque ensembles, includingBoston Baroque, Colorado Symphony, Winnipeg Symphony, American Bach Soloists, Harvard Baroque Orchestra, Juilliard 415, Dayton Philharmonic, and Colorado Bach Ensemble. Much in demand for Messiah, a performance with American Bach Soloists was released on video.

Eric has received awards from prestigious vocal competitions around the world, including an award from The Sullivan Foundation, 1st place in The Renata Tebaldi International Competition, 2nd place in the Corneille International Competition, 3rd place in the Cesti Competition for Baroque Opera, 1st place in the Handel Aria Competition, The International Competition-‘s-Hertogenbosch, 1st place in the Hal Leonard Online Vocal Competition, Dayton Opera Guild Competition, Kentucky Bach Choir Competition, and the Bel Canto Chorus of Milwaukee Competition. He is a proud recipient of a Novick Career Advancement Grant.

He received his Masters degree from The Juilliard School in New York City and his Bachelors From the College-Conservatory of Music (CCM) at the University of Cincinnati.

He is a student of Dr. Robert White Jr., William McGraw, and George Gibson.

IN CONCERT:

BACH   | B Minor Mass | Baldwin-Wallce University Bach Festival | Dirk Garner, cond.

“Up-and-coming counter-tenor Eric Jurenas took on this task with surprising success…thanks to Jurenas's exceptionally clear tone and vocal flexibility, especially in the highest reaches of his range.”

— Mark Satola, Cleveland Plain Dealer

“…countertenor Eric Jurenas sang beautifully [with] focused tone, even in his lower range”

— Daniel Hathaway, Cleveland Classical

         | B Minor Mass | Colorado Bach Ensemble | James Kim, cond.

“I don’t ever recall hearing a countertenor who had the incredible power as Eric Jurenas, not to mention his breath control.” — Robin McNeil, Opus Colorado

| Cantata 214, Tönet. Ihr Pauken! | American Bach Soloists | Jeffrey Thomas, cond.

“Mr. Jurenas' flashy long runs with equally long breaths were exciting.”

— Terry McNeill, Classical Sonoma

         | Oratorios, Easter and Ascension | Amberian Bach Soloists | Jeffrey Thomas, cond.

“Prominently featured among the vocal soloists was countertenor Eric Jurenas who demonstrated why he is the recipient of the 2017 Jeffrey Thomas Award. Jurenas’ performance…created one of the other intimate moments of the concert…in the duet “Hilf mir es, Jesu, auch vollbringen” (Help me, Jesus, to also accomplish).” — Niels Swinkels, San Francisco Classical Voice

| St. Matthew Passion | Juilliard415 | Gary Thor Wedow, cond.

“The alto aria “Erbarme dich” (“Have mercy”) was sung here by a countertenor, Eric Jurenas, with beautiful, well-supported tone and compelling expression: merely one of his many superb outings during the evening.” — James R. Oestreich, The New York Times

         | St. Matthew Passion | Colorado Bach Ensemble | James Kim, cond.

“…he still stuns the audience with his remarkable voice and musicianship…he never ceases to amaze me with the clear quality of his voice. It is as if one can see through it, and, in addition, his diction is remarkable….absolutely stunning in his long crescendo. Maestro Kim has to be able to pick a countertenor that has the breath control to do that.” — Opus Colorado

BAJZER, MARKO | Zrikavac | Cincinnati's College-Conservatory of Music

 “Jurenas (remember the name) sang this plaintive setting of Croatian poet Vladimir Nazor’s verses with heart-stopping beauty…” — Mary Ellyn Hutton, Music in Cincinnati

BRITTEN | Canticles | Juilliard School | Brian Zeger, dir.

“The focused, full-voiced tenor Miles Mykkanen and the poised countertenor Eric Jurenas performed with eerie calm, the effect of the piece all the more intense because they looked unnervingly similar.” — Zachary Woolfe, New York Times

HANDEL | Athalia | Harvard Baroque Chamber Orchestra | Edward Elwyn Jones, cond.

“Countertenor, Eric Jurenas has a powerful and pleasing sound. He sang with superb diction, real variety of tone color, and fully realized characterization. This is a young artist to watch.”

— Michael Beattie, The Boston Musical Intelligencer

             | Messiah | American Bach Soloists | Jeffrey Thomas, cond.

Mr. Jurenas’s brilliant virtuoso singing rose crystal clear above the spirited orchestral accompaniment. 

— Joanna Bramel Young, Classical Sonoma

             | Messiah | Winnipeg Symphony Orchestra | Alexander Mickelthwate, cond.

"A real treat was hearing Jurenas perform the solo sections more typically performed by contraltos -- as they were during last year's WSO concert. This American dynamo performed without showing any hint of strain, his unworldly voice easily soaring through his opening aria “But who may abide the day of his coming,” as well as recitatives including “Behold, a virgin shall conceive.”"

— Holly Harris, Winnipeg Free Press

             | Messiah | Boston Baroque | Martin Pearlman, cond.

“Countertenor Eric Jurenas gave riveting and versatile interpretations throughout in his Boston debut. From his first recitative at “Behold, a virgin shall conceive,” to his last “O death, where is thy sting,” his clarion voice and sensitive phrasing stood out and buoyed the dramatic texts.”

— Julie Ingelfinger, The Boston Musical Intelligencer

             | Saul | Göttingen Handel Festival | Laurence Cummings, cond.

“Countertenor Eric Jurenas as David stands out from this elite ensemble, with a voice so melting, soft and fluid, but also powerful and easily fills the room. Audience members were heard saying: “I’ve never before heard such a beautiful voice!”...Lots of applause, bravos and standing ovations for a thoroughly successful performance...”

—Göttinger Tageblatt

“Eric Jurenas was a stunning David, with strong penetrating tone across his range and

especially in the high notes, good flexibility, and judiciously deployed vibrato, not heard that

often in countertenors, and great vocal expessiveness ...delivering golden top notes...his reading

of the text was always impressive... His duet with Michal (O fairest of ten thousand fair) was

a delight with their voices binding beautifully and lovely shared cadenza...“

—Bachtrack

JETHS, WILLEM | Quale Coniugium! | Place de l’Opera – International Vocal Competition ‘s-Hertogenbosch

Translated from the Dutch: “Eric Jurenas, countertenor from the USA, after a lovely 'Silent Noon' by Vaughan Williams, performed 'Quale Coniugium!,' which was downright thrilling. He played extensively with different intonation and color, let the vowels do their job, and made his performance one of the more memorable of the day. His tone was extremely pleasant which made ​​his performance very worthwhile"

— Place de l'Opera

Translated from the Dutch: The execution by Jurenas, of the commissioned piece ‘Quale Coniugium!’ by Willem Jeths, made it quite clear that his vocal reading was superior. That brought the audience to offer big applause for the countertenor and his companion, Bretton Brown. Willem Jeths wrote the song based on the soprano part, but he can be proud of his composing talent through the vocal expression of Eric Jurenas.”

— Place de l'Opera

PÄRT | My Heart's in the Highlands & Es sang vor langen Jahren | Juilliard Focus! | Joel Sachs, dir.

“Eric Jurenas evenly balanced his countertenor from top register to bottom, encountering no difficulty essaying the challenging tessitura of these pieces.” — Musical America

VALI, REZA | Folk Songs, Set No. 14 | The New Juilliard Ensemble | Joel Sachs, dir.

“The remarkable countertenor Eric Jurenas, who recently astounded in an Axiom Ensemble Ligeti program, gave a breathtaking delivery to the setting of Farsi odes of love, especially in the fourth of the five songs, the “syllabic” Imaginary Folk Song in which he sang fast, repeating phonemes against enormous orchestral swells.” — Kurt Gottschalk, New York Classical Review

VIVALDI | Amor, hai vinto, RV 683 & Cessate, omai cessate, RV 684 | Juilliard 415 | Robert Mealy, dir.

“… it is impressive to see and hear someone so young with such talent. The challenging melismas that Vivaldi wrote …were accurately sung with warmth and solid intonation.”

— Stan Metzger, Seen and Heard International

IN OPERA: 

AYRES, R. | Peter Pan | Title Role | Komische Oper Berlin | Anthony Bramall, cond.

Gliding as Peter Pan is countertenor Eric Jurenas. He demonstrates himself as a true aerial acrobat. While somersaulting and hanging upside down, he sings with a strong, pleasant voice…and in understandable, clear German. Eric Jurenas as Peter Pan is the driving force of expression, the ideal casting choice.

— Online Merker

Throughout the flying scenes, Eric Jurenas is a thrilling, vivacious Peter Pan.  — Der Tagesspiegel

The playful and vocally strong soloist as Peter Pan: Eric Jurenas, within a large cast of performers, brings complete joy to his boyish role. — mz.web

Leading the way with sportiness and strong vocal energy is Eric Jurenas as Peter Pan. — Opernnetz

Children’s opera has been an artistic prestige project at the Komische Oper for more than ten years. A good example of this ambition is Eric Jurenas as Peter Pan, the eternal child, who sings enchantingly in this role. — Berliner Morgenpost

Eric Jurenas sings the difficult part…changing between registers quite magnificently.

— Neue Musikzeitung

Eric Jurenas as Peter Pan defies masculinity in the stiff, other-worldly and lonely character. His countertenor has boyish charm, and the voice when used in his “normal” male register shows his character’s other side quite effectively. — Die Deutsche Buehne

HANDEL | Giulio Cesare | Michigan Opera Theatre | Howard Arman, cond.

“Eric Jurenas (Nireno) offered performances of admirable gusto.” — John Guinn, Opera News

“Eric Jurenas as Nireno showed a clear and supple voice.” — Michael H. Margolin, Encore Michigan

|  Oreste  | Title Role | Theater an der Wien | Rubén Dubrovsky, cond.

“…musically the performance was dominated by the thrilling virtuoso Eric Jurenas. A countertenor that one can confidently predict a world-career…” — Die Presse

“Eric Jurenas in the title role introduced himself as an impressive countertenor…a flexible voice with perfect technique - a veritable hero.” — Online Merker

“…as a guest singer, the vocally agile, fabulous countertenor Eric Jurenas, a great singing actor…”

— opera musica

  | Poro, re dell'Indie | “Sir Alexander” | Komische Oper Berlin | Jörg Halubek, cond.

“Eric Jurenas, a Baroque-experienced countertenor of the highest caliber, sings his coloraturas so colorfully and convincingly that he receives the first spontaneous applause.” — Online Merker

“... baroque arias have their own logic of affects: you do not have to understand a word to understand which conflicting emotions rage here. Eric Jurenas succeeds best, whose countertenor fits snugly into Alexander's wide, balanced vocal lines.” — Berliner Morgenpost

“Countertenor Eric Jurenas can boast coloratura skills as Alexander.” — Der Tagesspiegel

“…the Countertenor Eric Jurenas – contrary to the intended character as being weak – was virile and vocally mastered the role without restrictions.” — nmz

  | Semele | Komische Oper | Konrad Junghänel, cond.

American countertenor Eric Jurenas mastered the ungrateful role of the stood-up groom Athamas with grace and sibilant tones. — Zenaida des Aubris, bachtrack

“Artistic Director Roland Geyer, who has impressively succeeded with the Wiener Kammeroper, the young branch of the Theater an der Wien heard the American Eric Jurenas at Innsbruck’s Cesti Competition and as Natascha in Eötvös’ “Three Sisters” (The Vienna State Opera). Now Jurenas sings the title role of Oreste. Jurenas, who will sing at the Innsbruck Early Music Festival as King Tiridates in Keisler’s Octavia, is an ideal Oreste! He is a countertenor with radiant timbre, admirable high-range technical security, with a natural intuition in approaching delicate emotions. Confidently he sparkles with Handel’s insane coloratura contrasted with beautiful shades of delicate emotion. Impressively, he plays a murderer…a subtle psycho-study in which his fear of the mythical revenge goddesses, the Furies, always resonates…”

— Kronen Zeitung

The American countertenor Eric Jurenas (Oreste) controls his voice perfectly: volume and range with fast coloratura on one side, and smooth legato on the other, with dynamic shades and rhythm. None of the usual vocal traps surprise him. His sound is full and the registers balanced; listening to him is a true pleasure.

— operaplus.cz

NEUWIRTH | Orlando “Guardian Angel” | Vienna State Opera | Matthias Pintscher, cond.

“Eric Jurenas brings a luminous countertenor to the part of the Guardian Angel” – Rebecca Schmidt. The Financial Times

“Eric Jurenas, whose smooth and full-bodied countertenor was a highlight.” –Joshua Barone, The New York Times

VIVALDI | Catone in Utica | The Glimmerglass Festival | Ryan Brown, cond.

“A distinct contrast was offered by the production’s other countertenor, Glimmerglass Young Artist Eric Jurenas, who sang with soft-grained delicacy as Cato’s ally Arbace.”— Fred Cohn, Opera News

“Young Artist Eric Jurenas offered a completely different sound as Arbace, tightly focused in its delivery of secure, highly musical contributions. He was believable as the sexed up aggressor, and became sympathetic after his romantic rejection.” — James Sohre, Opera Today

“The second counter tenor role, that of Arbace, Prince of Numidia, is taken by one of the festival’s Young Artists, Eric Jurenas, whose lighter, airier voice contrasts well with Mr. Holiday’s. His jaunty introductory aria is a delight.” — Michael Johnson, Concerto Net

“Eric Jurenas managed to portray both great masculinity and playful, compelling gentleness, singing successfully in the tricky range of countertenor with an occasional plunge into a fully resonant depth.”

— Susan Galbraith, DC Theatre Scene

“Eric Jurenas, an outstanding new countertenor” — Pat Thorpe, All Ostego

“Eric Jurenas excelled as the unwanted suitor, Arbace.” — Stan Metzger, Seen and Heard International

“He sang beautifully, with an attractive golden mezzo quality to his voice that served him well during the playful S’andra senza pastorei, as he serenades Marzia early on in the opera.”

– David Abrams, CNY Café Momus

“Eric Jurenas returned as Fulvio with an even stronger voice and more beautiful tone. This counter tenor …made Vivaldi’s runs seems effortless. His voice was smooth, his stage presence poised, and his acting some of the most focused in the evening.” — Susan Galbraith, DC Theater Scene

IN OPERA: 

AYRES, R. | Peter Pan | Title Role | Komische Oper Berlin | Anthony Bramall, cond.

Gliding as Peter Pan is countertenor Eric Jurenas. He demonstrates himself as a true aerial acrobat. While somersaulting and hanging upside down, he sings with a strong, pleasant voice…and in understandable, clear German. Eric Jurenas as Peter Pan is the driving force of expression, the ideal casting choice.

— Online Merker

Throughout the flying scenes, Eric Jurenas is a thrilling, vivacious Peter Pan.  — Der Tagesspiegel

The playful and vocally strong soloist as Peter Pan: Eric Jurenas, within a large cast of performers, brings complete joy to his boyish role. — mz.web

Leading the way with sportiness and strong vocal energy is Eric Jurenas as Peter Pan. — Opernnetz

Children’s opera has been an artistic prestige project at the Komische Oper for more than ten years. A good example of this ambition is Eric Jurenas as Peter Pan, the eternal child, who sings enchantingly in this role. — Berliner Morgenpost

Eric Jurenas sings the difficult part…changing between registers quite magnificently.

— Neue Musikzeitung

Eric Jurenas as Peter Pan defies masculinity in the stiff, other-worldly and lonely character. His countertenor has boyish charm, and the voice when used in his “normal” male register shows his character’s other side quite effectively. — Die Deutsche Buehne

HANDEL | Giulio Cesare | Michigan Opera Theatre | Howard Arman, cond.

“Eric Jurenas (Nireno) offered performances of admirable gusto.” — John Guinn, Opera News

“Eric Jurenas as Nireno showed a clear and supple voice.” — Michael H. Margolin, Encore Michigan

|  Oreste  | Title Role | Theater an der Wien | Rubén Dubrovsky, cond.

“…musically the performance was dominated by the thrilling virtuoso Eric Jurenas. A countertenor that one can confidently predict a world-career…” — Die Presse

“Eric Jurenas in the title role introduced himself as an impressive countertenor…a flexible voice with perfect technique - a veritable hero.” — Online Merker

“…as a guest singer, the vocally agile, fabulous countertenor Eric Jurenas, a great singing actor…”

— opera musica

  | Poro, re dell'Indie | “Sir Alexander” | Komische Oper Berlin | Jörg Halubek, cond.

“Eric Jurenas, a Baroque-experienced countertenor of the highest caliber, sings his coloraturas so colorfully and convincingly that he receives the first spontaneous applause.” — Online Merker

“... baroque arias have their own logic of affects: you do not have to understand a word to understand which conflicting emotions rage here. Eric Jurenas succeeds best, whose countertenor fits snugly into Alexander's wide, balanced vocal lines.” — Berliner Morgenpost

“Countertenor Eric Jurenas can boast coloratura skills as Alexander.” — Der Tagesspiegel

“…the Countertenor Eric Jurenas – contrary to the intended character as being weak – was virile and vocally mastered the role without restrictions.” — nmz

  | Semele | Komische Oper | Konrad Junghänel, cond.

American countertenor Eric Jurenas mastered the ungrateful role of the stood-up groom Athamas with grace and sibilant tones. — Zenaida des Aubris, bachtrack

“Artistic Director Roland Geyer, who has impressively succeeded with the Wiener Kammeroper, the young branch of the Theater an der Wien heard the American Eric Jurenas at Innsbruck’s Cesti Competition and as Natascha in Eötvös’ “Three Sisters” (The Vienna State Opera). Now Jurenas sings the title role of Oreste. Jurenas, who will sing at the Innsbruck Early Music Festival as King Tiridates in Keisler’s Octavia, is an ideal Oreste! He is a countertenor with radiant timbre, admirable high-range technical security, with a natural intuition in approaching delicate emotions. Confidently he sparkles with Handel’s insane coloratura contrasted with beautiful shades of delicate emotion. Impressively, he plays a murderer…a subtle psycho-study in which his fear of the mythical revenge goddesses, the Furies, always resonates…”

— Kronen Zeitung

The American countertenor Eric Jurenas (Oreste) controls his voice perfectly: volume and range with fast coloratura on one side, and smooth legato on the other, with dynamic shades and rhythm. None of the usual vocal traps surprise him. His sound is full and the registers balanced; listening to him is a true pleasure.

— operaplus.cz

NEUWIRTH | Orlando “Guardian Angel” | Vienna State Opera | Matthias Pintscher, cond.

“Eric Jurenas brings a luminous countertenor to the part of the Guardian Angel” – Rebecca Schmidt. The Financial Times

“Eric Jurenas, whose smooth and full-bodied countertenor was a highlight.” –Joshua Barone, The           New York Times

VIVALDI | Catone in Utica | The Glimmerglass Festival | Ryan Brown, cond.

“A distinct contrast was offered by the production’s other countertenor, Glimmerglass Young Artist Eric Jurenas, who sang with soft-grained delicacy as Cato’s ally Arbace.”— Fred Cohn, Opera News

“Young Artist Eric Jurenas offered a completely different sound as Arbace, tightly focused in its delivery of secure, highly musical contributions. He was believable as the sexed up aggressor, and became sympathetic after his romantic rejection.” — James Sohre, Opera Today

“The second counter tenor role, that of Arbace, Prince of Numidia, is taken by one of the festival’s Young Artists, Eric Jurenas, whose lighter, airier voice contrasts well with Mr. Holiday’s. His jaunty introductory aria is a delight.” — Michael Johnson, Concerto Net

“Eric Jurenas managed to portray both great masculinity and playful, compelling gentleness, singing successfully in the tricky range of countertenor with an occasional plunge into a fully resonant depth.”

— Susan Galbraith, DC Theatre Scene

“Eric Jurenas, an outstanding new countertenor” — Pat Thorpe, All Ostego

“Eric Jurenas excelled as the unwanted suitor, Arbace.” — Stan Metzger, Seen and Heard International

“He sang beautifully, with an attractive golden mezzo quality to his voice that served him well during the playful S’andra senza pastorei, as he serenades Marzia early on in the opera.”

– David Abrams, CNY Café Momus

“Eric Jurenas returned as Fulvio with an even stronger voice and more beautiful tone. This counter tenor …made Vivaldi’s runs seems effortless. His voice was smooth, his stage presence poised, and his acting some of the most focused in the evening.” — Susan Galbraith, DC Theater Scene