
Biography
Northern Irish baritone Christopher Cull performs across opera, contemporary music theatre, and the concert and recital platforms. Recent roles include Theseus in Britten’s A Midsummer Night’s Dream for Blackwater Valley Opera Festival, Robert in Jasper Dommett’s Disorderly House and B in Carmel Smickersgill’s Inevitable for Buxton International Festival, and Eaves in Conor Mitchell’s Dublin Jack with Belfast Ensemble.
A longstanding collaborator with Belfast Ensemble and Conor Mitchell, Christopher has appeared in Abomination: A DUP Opera, The Headless Soldier, The Musician and MASS, the latter with the Ulster Orchestra. These collaborations have included performances at the Lyric Theatre Belfast, Abbey Theatre Dublin, Brighton Festival and London’s Southbank Centre.
His operatic appearances include Marcello in La bohème for Opera Holland Park’s Young Artists production; Masetto in Don Giovanni, Don Carissimo in La Dirindina and Pan in Daphnis et Chloé for Northern Ireland Opera; Baron Pictordu in Cendrillon and Zaretsky in Eugene Onegin for Buxton International Festival; Collatinus in The Rape of Lucretia for Irish Youth Opera; and Valentin in Faust for Clonter Opera. Other roles include Donner in Das Rheingold with Birmingham Philharmonic Orchestra, Lane and Merriman in Gerald Barry’s The Importance of Being Earnest for Northern Ireland Opera and Wide Open Opera, and Geôlier and Javelinot in Dialogues des Carmélites for Grange Park Opera.
On the concert platform, Christopher has sung Handel’s Messiah with the Ulster Orchestra and RTÉ Concert Orchestra, Bach’s St John Passion with the RTÉ National Symphony Orchestra, Walton’s Belshazzar’s Feast at the Barbican, and Mendelssohn’s Elijah at Truro Cathedral. Other engagements include Mahler’s Lieder eines fahrenden Gesellen with Aberystwyth Philomusica, Rachmaninov’s Spring with Cambridge Philharmonic and recitals at St Martin-in-the-Fields and Queen’s University Belfast.
Christopher is a BBC / Arts Council of Northern Ireland Young Musicians’ Platform winner and a former Young Artist with Opera Theatre Company.

“Christopher Cull made a richly toned Marcello, providing a strong counterbalance to Elizabeth Karani’s theatrical Mussetta in the later acts.”
“his verse of the waltz-song was thrillingly sung.”

“Christopher Cull is a vivid performer and his Tarquinius was beautifully sung”

“Richness in tone quality, surety in production, clarity of diction and of pitch”

“the agonised and terrifying apparition of the blood-soaked headless soldier.”

“Christopher Cull captured the pain Robert felt from the moment he entered the house.”
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