American tenor Ric Furman, praised by the Frankfurter Allgemeine for his “luminous vocal power” and by Seen and Heard International for a "mellifluous tone,” is currently one of opera's most exciting and critically-acclaimed young heldentenors.
Furman’s helden debut in 2012 as Florestan in Seattle Opera’s Fidelio was such a success that he returned in 2013 for Stephen Wadsworth’s highly-regarded Ring Cycle, singing Froh and covering Siegmund. Furman earned praise by Opera News for his "sweet toned” Froh and in the Pacific Aisle for his "clarion voice.” Furman can be heard in the live recording of Seattle's “The Green Ring” on AVIE Records, available on iTunes. Furman went on in 2014 to further his helden repertoire performing Bacchus in Virginia Opera’s Ariadne auf Naxos, Naraboth in Portland Opera’s Salome, and excerpts from Tristan und Isolde as Tristan with the Anchorage Symphony Orchestra.
Immediately after being selected one of nine finalists in the 2014 International Wagner Competition as well as winning the top award by the New York City Wagner Society, Furman continued his success in Europe with “a debut to measure” (NMZ Online) singing the role of Anatol in Samuel Barber's Vanessa. Die Deutsche Bühne proclaimed that his Anatol at Theatre Hagen “delight(ed) from the outset with a radiant tenor.”
In October of 2015, Furman debuted in Budapest with the Hungarian National Philharmonic as the Bürgermeister and Apollo in a double bill of Strauss’ masterworks Friedenstag and Daphne. Thriving vocally under the direction of Maeastro Zoltan Koscis, The Papiruszportal exclaimed Furman was “a handsome tenor…with a clear, strong voice” and “it was impossible not to pay attention to him.” Furman has future plans with the Staatsoper Budapest as well as the Philharmonic’s upcoming productions of Wagner’s Ring Cycle and Der Fliegende Holländer.
Upcoming engagements include Siegmund in Die Walküre and Anatol in Vanessa (Staatstheater Magdeburg), and Boris in Katja Kabanova (Scottish National Opera).
Although Furman is singing some of the most demanding dramatic and heldentenor roles in the opera canon, he also enjoys performing new, contemporary works. In addition to Barber’s Vanessa, Furman has had success in Heggie’s Dead Man Walking, Golijov's Ainadamar, Susa’s The Dangerous Liaisons, Stravinsky's The Rake's Progress and two world premieres: Eve’s Odds by Bruce Trinkley and A Stranger's Tale by Curtis Tucker.
Furman’s early career included playing romantic tenor leads across the U.S. for top companies in Pittsburgh, Cincinnati, Portland, Brooklyn, Springfield, Mo., Dayton, Indianapolis, Omaha, and in New York’s prestigious Carnegie Hall. He is a proud alumnus of The University of Cincinnati College-Conservatory of Music and Western Illinois University.