Welcome to the Official Website of Lyric Tenor Brian Jagde

Brian Jagde sings "Ma se m'e forza perderti" from Ballo

Brian Jagde sings "Ma se m'e forza perderti" from Verdi's Un Ballo in Maschera. Recorded at the Herbst Theater in San Francisco on November 30, 2012.

News

© Bill Cooper/Royal Opera House

“Heroic lyricism and passion” as “the ideal Pinkerton” in Royal Opera debut

“Brian Jagde packs character into Pinkerton in this thoughtful revival of Puccini’s opera . . . Pinkerton, too, made an unusually strong impression, performed by American tenor Brian Jagde. New to the Royal Opera, his resplendent singing, with a real ring to the top of his voice, gave his anti-romantic lead personality, while his final (and literal) running […]

22 March, 2015

PBO

Palm Beach Opera debut in ‘Ariadne auf Naxos’

Next season, Brian Jagde will make his house debut at Palm Beach Opera as Bacchus in Strauss’ sumptuous and spellbinding work, Ariadne auf Naxos. Mr. Jagde is joined by a thrilling cast, including Wendy Bryn Harmer in the title role and Irene Roberts as the Komponist, in a production directed by Daniel Witzke. Maestro Andreas […]

10 February, 2015

Mondavi-Center

Debut Solo Recital at the Mondavi Center

Brian Jagde will make his solo recital debut on February 18 in Jackson Hall at the Mondavi Center, located on the campus of the University of California, Davis. Mr. Jagde is joined by acclaimed pianist Craig Terry, Music Director of the Ryan Opera Center at the Lyric Opera of Chicago, for this performance. The program […]

7 February, 2015

In The Press

“Heroic lyricism and passion” as “the ideal Pinkerton” in Royal Opera debut

Brian Jagde packs character into Pinkerton in this thoughtful revival of Puccini’s opera . . . Pinkerton, too, made an unusually strong impression, performed by American tenor Brian Jagde. New to the Royal Opera, his resplendent singing, with a real ring to the top of his voice, gave his anti-romantic lead personality, while his final (and literal) running away from his responsibilities provided an unforgettable image.”
George Hall – The Guardian

Brian Jagde, on an exciting house debut, is the ideal Pinkerton. His voice sustains a lyrical beauty across its rangehowever forceful the orchestral swell beneath it, while as an acting presence he suggests coltish arousal at the prospect of a play-marriage with his exotic young victim.”
Mark Valencia – WhatsOnStage

For once, Cio-Cio-San had a Pinkerton worth throwing herself away for. The American tenor Brian Jagde (making his Royal Opera debut) rightly dominated the first Act. To go with his good looks, Jagde’s voice has the heroic lyricism and passion that suits Pinkerton’s reckless seductiveness, and its occasional hard edge . . . was a brilliant expression of Pinkerton’s lacerating arrogance.”
Peter Reed – Classical Source

“The high drama of Opolais’s interpretation is complemented by Nicola Luisotti’s forceful, febrile conducting and Brian Jagde’s unusually sympathetic Pinkerton, a plausible American jock who imbues “Addio fiorito asil” with aching remorse.”
Rupert Christiansen – The Telegraph

“ . . . the young, handsome American tenor Brian Jagde making an auspicious house debut as Pinkerton. His voice is powerful and even throughout the range, he produced some thrilling singing where necessary and cut an unusually sympathetic figure on stage in what is a pretty thankless role. I hope we hear a lot more of him . . .”
Keith McDonnell – musicOMH

House debutant Brian Jagde has plenty of weight to his bright tenor and played Pinkerton as a more likeable . . . cad than usual. He filled his brief aria “Addio, fiorito asil” with real regret.”
Mark Pullinger – Bachtrack

A “radiant” and “glorious” recital debut at the Mondavi Center

“It was not long ago – October 2013, as matter of fact – when American tenor Brian Jagde made his first appearance on the Mondavi stage. At the time, he was one of several singers in a concert billed as the “Rising Stars of Opera.” Flash forward two years, and Jagde is on the same stage, this time in a recital all his own. In that time, Jagde has established himself in the opera world. This past January, he stepped in at the last minute to play Cavaradossi in a Lyric Opera of Chicago production of Tosca, when Ukrainian tenor Misha Didyk backed out. Jagde had only 12 days to prepare, yet performed the role to positive reviews.

His debut appearance at the Mondavi Center at UC Davis Wednesday evening suggests Jagde is more than just a rising star. He’s a singer whose time has come. And a gamer to boot.

It would be hard to imagine a tenor making a bolder, more impressive debut than Jagde did Wednesday, delivering a demanding repertoire over the course of an hour-and-a-half performance . . . There is nothing more exciting than seeing a performer whose career and voice are on a steep uptick, as is the case right now with Jagde. He’s in that zone where he can do no wrong. At Mondavi he possessed a stage presence that was at once relaxed but thoroughly confident. His voice was radiant and warm.

Brian Jagde is “a revelation” as Cavaradossi in ‘Tosca’ at Lyric Opera of Chicago

A substitute at Lyric Opera’s Tosca is a revelation . . . On January 12, Lyric Opera general director Anthony Freud announced that Misha Didyk, the Ukrainian tenor scheduled for the leading role of Mario Cavaradossi in Puccini’s Tosca had dropped out of the production “for personal reasons.” Opening night was just 12 days away. But a replacement had been found: a rising young American tenor, Brian Jagde (it’s pronounced Jade), would be stepping in, making his Lyric debut. In the announcement, Freud thanked the Portland Opera for releasing Jagde from a conflicting engagement there . . .

Not to worry! In a revelation to an audience who hadn’t heard him before, Jagde and his Tosca, Russian soprano Tatiana Serjan, also in her Lyric Opera debut, delivered standout performances. (No surprise about Serjan for those who’d heard her in CSO’s concert version of Verdi’s Macbeth, conducted by Riccardo Muti last season.) The abrupt departure from plan resulted in an inspired pairing: two wonderful acting singers with the extraordinary voices that make for opera legend.”
Deanna Isaacs – Chicago Reader

“Puccini’s Tosca returned to Lyric Opera in a beautifully performed, new-to Chicago production that featured a wealth of important company debuts, including the evening’s conductor and all three principal singers (seen Jan. 24) . . . Serjan found an excellent stage partner in Brian Jagde’s handsome, clarion-toned Cavaradossi. The tenor won audience approval from the initial phrases of “Recondita armonia,” which were lyrically dispatched without the bellowing so often heard. Once fully warmed, Jagde produced an impressive flood of ringing sound that appeared to be produced well within his means without spreading under pressure above the staff. The sexual chemistry onstage with Serjan was palpable: this was a hot Tosca duo.”
Mark Thomas Ketterson – Opera News

“Puccini’s score for “Tosca” is chock-full of thrilling moments . . . In Lyric’s production, the less familiar music of Act I is enlightened by soprano Tatiana Serjan’s Tosca and tenor Brian Jagde’s Cavaradossi. They chase each other up and down scaffolding, play-fighting like children, and then suddenly confessing love that cannot be moved. Both are attractive, consummate actors, and bring a freshness to their portrayals . . . His voice’s chiaroscuro (the balance of lightness and darkness) and a razor-sharp focus awarded his Lyric debut with thunderous applause; Jagde seems the new Richard Tucker . . . Jagde alone is reason to attend.“
New City Stage

VIDEO: Tosca Act 1 Cavaradossi’s Aria

Soon the dashing painter Cavaradossi enters to work on his portrait of Mary Magdalene based on a likeness of Angelotti's sister, the Marchesa Attavanti. Cavaradossi compares her fair beauty to that of his darker lover, the charismatic diva Floria Tosca ("Recondita armonia"). More videos