“The role of Archibaldo requires an imposing bass, and the Bleecker Street ensemble had one in Eric Jordan, a New York City Opera veteran whose powerful, nuanced singing and thoughtful acting amounted to a wholly remarkable portrayal.”
(The New York Times, October 19, 2009)
“As the mysterious high priest Sarastro, bass Eric Jordan made the most of his single solo, adorning the final phrase with a descent to a rumbling low E.”
(New York Post, June 29, 2009)
“The bass Eric Jordan sang Garrido with a strong voice and commanding presence.”
(The New York Times, June 28, 2009)
"My own favorite was the other bass, Eric Jordan as General Garrido. This was a bass voice of weight, of command, of warmth and understanding."
(ConcertoNet.com, June 26, 2009)
“Colline the philosopher was presented with a suitable intellectual mien by Eric Jordan, bass. His Vecchia zimarra was memorable and touching.”
(Palm Beach Daily News, April 4, 2009)
“The Frère Laurent of bass Eric Jordan was mind-blowing. Jordan's singing in both the wedding and potion scenes were deeply resonant and powerful.”
(Ithaca Journal, March 12, 2009)
“Eric Jordan's Friar Laurent was a bass of resonant clarity, weaving his words together in artfully silken phrases. Simply put, Jordan's voice was the most gorgeous of the evening.”
(The Syracuse Post-Standard, March 7, 2009)
"Bass Eric Jordan gave the Commendatore an appropriately imposing voice, while adding chills to the opera's final moments."
(The Times-Picayune, November 14, 2008)
“Eric Jordon, the Commendatore who gets strangled and resurrected, was a robust vocal presence both alive and dead.” (Don Giovanni)
(St. Bernard Voice, November 2008)
"Jordan was especially appealing as the jailer. His expressive singing and speaking rang true."
(The Palm Beach Post, January 27, 2008)
[...] Jordan proving remarkably nimble as he guided his weighty SUV of a voice through the tightly placed orange cones of Handel's heavily ornamented melodies.
(The Times-Picayune, December 22, 2007)
"There were stronger contributions […] especially from bass Eric Jordan in a gripping and all-too-short company debut as the ill-fated Philistine overlord Abimelech.”
(The San Francisco Chronicle, September 10, 2007)
“Eric Jordan made a sensational “true French singer” debut in the five-minute “throwaway role” of Abimelech”
(The Examiner, September 8, 2007)
"As in this fall's Semele at City Opera, where he is gaining deserved prominence, Eric Jordan showed that a big, high-quality, robust bass need not rule out credible agility. He played the deceived patriarch Gaudenzio with a genial irascibility that seemed exactly right, his self-satisfaction extending to a sensual rapport with his housekeeper..."
(Opera News, April 2007)
"One only gets a glimpse or two of Le Bonze, but Eric Jordan’s bass voice in the part caught one’s attention."
(New York Times, March 12, 2007)
"Bass Eric Jordan stood out as Gaudenzio. Jordan's deep, booming, resonant voice showed itself especially during his smooth rendering of strands of the staccato recitative."
(The Columbia Spectator, January 31, 2007)
"As Gaudenzio, Eric Jordan has a sonorous bass that's outstanding."
(Backstange, January 30, 2007)
“Eric Jordan is a true assassin in this role. A singer who can kill by the sheer ultrasonic, subterranean resonance of his grand basso voice, Jordan proved a mass assassin. Trailing out the aisle of the Belleayre tent with that endless note that is the signature of the role – ‘Sparafuciiiiiiiiile!’ – he slayed the house.”
(Daily Freeman, August 9, 2005)
“…Bass Eric Jordan made a big impression in the brief but pivotal role of Neptune, with a resonant, ringing tone that was well produced throughout its range.”
(St. Louis Post-Dispatch, June 16, 2001)
“…As Koremitsu, Genji’s servant, bass Eric Jordan sang with real character.”
(St. Louis Post-Dispatch, June 17, 2000)
“The most musical voice of the evening belongs to baritone Eric Jordan, who sings the part of Genji’s servant: one waited for him to reappear and sing again.”
(The Riverfront Times, June 21, 2000)
“The conductor Stewart Bedford, the orchestra and all the singers—who also included … Eric Jordan—were splendid.”
(The Wall Street Journal, July 5, 2000)
“…And Eric Jordan, with his big bass and presence to match, was impressive as Antonio.”
(Opera News, August 1999)
“…Eric Jordan played Antonio as a shrewd simpleton.”
(The Boston Globe, April 2, 1999)
“Eric Jordan’s bass may have been the best voice in the cast…”
(The Boston Globe, September 28, 1998
“Eric Jordan (Ramfis) displayed a powerful bass voice, which at times sounded truly imperial. ‘Nume custode e vindice’ proved an excellent vehicle to display his fine sense of phrase line, and his recitative in the beginning of Act III was commendable.”
(Essex County News, September 20, 1998)