PRESS

"The soloists were equally strong in their roles. Ian Rucker demonstrated his wide range in a full-voiced reading. As impressive as he was in the first part of the concert, his passionate intensity in the final numbers was particularly effective. His responses to and interactions with soprano Jasmine Habersham added much to this Carmina Burana, especially Rucker’s intense emotional pitch in the penultimate number, just before the reprise of the opening chorus, ‘O fortuna’. It helped that Rucker dispensed with singing from a score and focused entirely on the music, adding his personal stamp to the role." -James L. Zychowicz, Seen and Heard Interntional "Ian Rucker, the towering Baritone who must sing the most German Medieval poetry is charming." -Angela Allyn, Chicago Stage and Screen "Baritone Ian Rucker brings depth and warmth to his solos, his phrasing expressive without excess, his tone firmly grounded even in moments of high dramatic tension. And his upper register is just amazing." -Suzanne Magnuson, SplashMags "Featured baritone is the young, expressive and impressive Ian Rucker, who delivers some of the evening’s most mellifluous moments." -Karin McKie, Third Coast Review

"Ian Rucker’s Dandini, meanwhile, was an especial stand-out. Who could have made more out of being Prince-for-a-day (and an evening)? Bewigged, in dandy teddy-boy suit and lace ruff for the ball (an Elvis-meets-le-roi-de-France look), he dominated his scenes, physically and vocally. And when he descended the social rungs, he became as vocally tame, in the last scene, as the satchel he carries: back to being a bit-player, not the star." -Hilary Stroh, Bachtrack "Ian Rucker also goes for broke, as Prince Ramiro’s flamboyant valet Dandini, who gets the chance to pose as the prince and finds that he likes the role quite well indeed. Rucker’s robust baritone is enlivened by unrestrained comic commitment. He knows how to strike a pose and brings down the house with “Come un’ape ne’ giorni d’aprile.” Call him “Prance Charming.”" -Grace Suh, KC Studio

"I was mostly struck by the vocal and scenic quality of Ian Rucker as Billy Budd. Sporting an inked shoulder, he burst onto the stage as a lovable giant. His voice was secure, idiomatic, and perfectly capable of sustaining the continuous play between song and speech in the score. But what inspired me most was how a singer with a high and yet very baritonal voice managed to achieve that rare quality of ingenuity and honesty so essential to the role. To do so, Rucker walked the stage like a tormented golden retriever — perfectly capable of smiling, but still not fully in control of his body or instincts. The two physical outbursts on stage (against Squeak and later Claggart) seemed closely linked to his muteness — it is the absence of voice (or, perhaps, of language) that drives him to violence. When singing, he possessed that enviable beauty of tone, the handsomeness that is diegetically addressed by Claggart in his private confessions. Also, even with a reduced orchestra, it is impressive to hear a baritone who can sing such a high part while preserving such beauty of tone..." -João Marcos Copertino, OperaWire "Starting with the statuesque Billy Budd of the American baritone Ian Rucker , with his powerful singing of solar clarity in revolt as in resignation at the dawn of death. Goldilocks, angel's face, muscles and tattoos visible, he embodies this Edenic hero, too perfect" -Christophe Candoni, SceneWeb "Ian Rucker is an ideal Billy Budd, and his beauty does not make him miss his character to which he gives all his human qualities. The singing line is precise, the high notes controlled, the sensitivity omnipresent and the seduction has no trouble operating." -Michel Egéa, ConcertClassic.com "Ian Rucker is not just a tall, blond angel. Beyond his Michelangelo-esque physique, the American baritone has a powerful and rich voice, with the ideal range for this tense tessitura. His technique is remarkable (especially for a 27-28 year-old singer) but goes unnoticed as it serves his expressiveness. The voice can be lit up with sunshine or darkened, tinged with honey in a delicate mix. His composition is moving, refined under an apparent simplicity, coherent throughout the work and culminating in a moving final scene where anger, hope, and resignation intertwine. An exceptional Billy." -Jean Michel Pennetier, Forum Opera "To the question “can you read?” posed by the evil Claggart, Billy Budd replies “no, but I can sing.” Nothing could be truer for the American baritone Ian Rucker . From the very first performances, the audience discovers a powerful instrument, rich in a myriad of high harmonics that radiate throughout the room. Whether he is singing a sea shanty to entertain the crew, or lamenting his impending fate, the light and catchiness of the timbre never falter, making the performer a young man whose kindness of soul and youthful features seduce his comrades (sometimes even literally), provoking the jealousy of his coxswain. The scene that reveals him, alone, awaiting death, is a suspended moment where rebellion, nostalgia, and an almost Christ-like resignation mingle, of a moving intensity." -Olivier Delaunay, Olyrix "Ian Rucker is a cherub with the voice of an angel fallen from heaven..." -Romain Daroles, Bachtrack "... above all, Billy Budd [is] so intensely embodied in his presence and voice by Ian Rucker." -Stéphane Gilbart, Crescendo Magazine

"It’s not often one walks out of a Bohème performance dazzled by the Schaunard. Ian Rucker, a third-year Ryan Center member from Oshkosh, displayed a big, warm-toned baritone, natural ease, and charismatic stage presence." -Lawrence A. Johnson, Chicago Classical Review "Ryan Opera Center (of the Lyric Opera) Ensemble member Ian Rucker as the musician Schaunard has a lustrous baritone voice, and is a joy to watch in the finale as a would-be ballerina." -Debra Davy, Splash Mags  "Also notably delightful are two members of Rodolfo’s crew - philosopher Colline (Peixin Chen) and musician Schaunard (Ian Rucker), who are entertaining as actors along with excellent singing." -Bill Esler, Buzz Center Stage

"Ian Rucker from OshKosh, Wisconsin, is a third-year student. His baritone has such a dramatic, deep rich resonant rounded voice and the fact that he is handsome makes him mesmerizing on stage." -Susan Lillis, Splash Mags

"...Ian Rucker made an impressive company debut subbing as Ory’s friend and partner in crime. The towering singer, an Oshkosh native and first-year member of the Ryan Opera Center, showed a firm baritone and relaxed confidence on stage, capably delivering Raimbaud’s comic narrative of his raiding of the castle’s wine cellar." -Lawrence A Johnson, Chicago Classical Review "At the performance I saw, the (baritone) understudy Ian Rucker sounded rich indeed in the role of Raimbaud, normative sidekick to Ory." -Chris Jones, Chicago Tribune