-San Antonio Current (Macbeth, Opera San Antonio)

"All hail … Macduff? That was certainly the buzz last night after Eric Barry’s extraordinary performance of the aria “Ah, la paterna mano”: Barry takes his solo moment — as the stunned Macduff learns that the other Macker has slaughtered his entire family — and makes the strongest possible case for this operatic treatment of Shakespeare’s play. For an instant, time stands still while Verdi — and Barry — mine the supernatural plot for its all-too-human consequences: a recognition of shame, and rage, and, above all, sorrow for the lives discarded in the wake of vaulting ambition. It’s an amazing rendition, and the crowd at the Tobin Center roared its approval."

-San Antonio Express News (Macbeth, Opera San Antonio)

"Among the other characters, tenor Eric Barry as Macduff scored big with the audience of about 1,400 people with his aria announcing the murders of his character’s wife and children."

-Opera News (Lucia di Lammermoor, Opera Colorado)

"Her Edgardo was company debutant Eric Barry, a large, beefy tenor with a clear and powerful voice. The two displayed an engaging chemistry, blending well in 'Verrano a te sull'aure.'

It was Barry who delivered the finest singing in this production, along with the most consistently involving characterization. His tenor easily filled the hall, never succumbing to unsteadiness at either end of his range. This was a fine debut, highlighted by a memorable 'Tombe degli avi miei.'"

"Singing the Prologue and Peter Quint, Eric Barry offers a clean, clear tenor, free lyricism and excellent diction; he finds an unearthly and haunting quality for his melismatic summons to Miles in the nocturnal garden."

-Opera Magazine (CD Review: The Turn of the Screw)

"In Sunday’s performance, tenor Eric Barry conveyed Nemorino’s ardor and pure-hearted sincerity so vividly, you could hardly begrudge him spending his last lira on a sham draft of desire."

-Boston Globe News (L'elisir d'amore, Boston Midsummer Opera)

"When first-string tenor David Lomeli withdrew for undisclosed reasons, Mr. Barry was tasked with three additional performances, including opening night on Saturday. But Mr. Barry deserves kudos for a solid, if not particularly revelatory, performance. La Boheme provided an early opportunity for Mr. Barry to show off his pipes in "Che gelida manina," when the poet declares his love for Mimi (Leah Crocetto, making her debuts both with Pittsburgh Opera and as Mimi). The tenor demonstrated a warm, bright tone and consistent voice. The sentiment of the aria was filled out by the orchestra and by the singer’s strong high C."

-Pittsburgh Post-Gazette (La bohème, Pittsburgh Opera)

This is similar to Alfredo's dilemma, as he is caught between his duty to his father and the dictates of his heart. Eric Barry deftly navigates this dichotomy; Alfredo's devotion to Violetta is complete and his obedience to his father is unwavering. Barry's melodious tenor and beautifully shaped Italian leave no doubt as to the refined nature of Alfredo's love.

-Colorado Drama (La Traviata, Opera Colorado)

"Joyce El-Khoury (Tatiana) and Eric Barry (Lensky) stole the show, though...Barry, meanwhile, makes a great tragic tenor, with a dripping upper register that projects uncertainty. Both were making their second appearances with the N.C. Opera, and I hope to hear them with the opera again soon."

-Indy Week Music (Eugene Onegin, North Carolina Opera)

"Spanish-American tenor Eric Barry, who repeatedly brought down the house with his ardent portrayal of Lyonel, soared above the orchestra with a fine, well-focused tone and impeccable diction."

-Boston Musical Intelligencer (Martha, Boston Midsummer Opera)

Eric Barry left an impressive mark in the title role with a bright, clear timbre, evenness of projection and exceptional sensitivity to subtleties of text and melodic contour. The tenor proved to be a persuasive actor as well, conveying Tom's moral and mental descent with considerable skill and, in the final scene, producing sweet, subtle singing that proved quite affecting."

-Opera News (The Rake's Progress, Wolf Trap Opera)

“Eric Barry makes a virtue of his bright, clear singing as Quint.”

-Gramophone (CD Review: The Turn of the Screw)

“The summer’s best vocal talent was saved for this welcome production of “The Rake’s Progress,” on Friday night at the Barns. ­Texas-born tenor Eric Barry excelled in the demanding role of Tom Rakewell, in one of the most promising performances by a Wolf Trap young artist in recent memory. Lustrous, puissant high notes never faltered or strained, with clean accuracy of intonation and rhythm, spinning out the baroquified curlicues of Stravinsky’s vocal writing.”

Washington Post (The Rake’s Progress, Wolf Trap Opera)

“Avito, to whom the beautiful Fiora was betrothed before the kingdom of Altura was conquered by Archibaldo, is sung by Spanish-American tenor Eric Barry, an engaging young singer who has been acclaimed in rôles as varied as Arbace in Rossini’s Ciro in Babilonia and Rodolfo in Puccini’s La bohème.  Lyricism never persists for more than a few bars in the tense world of L’amore dei tre re, but Mr. Barry’s fluid lyric tenor fills his musical lines expressively... the appeal of Mr. Barry’s voice in Avito’s music is undeniable.”

-Opera Today (L’amore dei tre re, Beethoven Easter Festival)

“Barry, accompanied by a marching-band variation, gave expansive, spread-armed heft to the tenor’s solo stanza. His operatic flair served as a reminder that the source of Wagnerian tenorism, from Lohengrin through Tristan, lies in this stirring passage.”

-Indianapolis Star Arts (Beethoven: Symphony No. 9, Indianapolis Symphony Orchestra)