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Tosca 2014-15 [Highlights]

Brian Jagde - Cavaradossi, Lianna Haroutounian - Tosca, Mark Delavan - Scarpia

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Carmen_Bieito

Instagram Takeover – San Francisco Opera

Brian Jagde will be the first-ever artist to take over San Francisco Opera’s Instagram channel (@sfopera) on May 27, opening night and the US debut of Calixto Bieito’s thrilling production of Carmen. [email protected] see behind-the-scenes photos and videos all day and throughout the show!

24 May, 2016

Carmen

San Francisco Opera summer season – ‘Carmen’ and Gala Concert

Brian Jagde makes his highly anticipated return to San Francisco Opera this season, as Don José in Bizet’s smoldering classic, Carmen. This is a signature role for Mr. Jagde, who recently sang José to great acclaim at Deutsche Oper Berlin and the Teatro di San Carlo: “Brian Jagde was an excellent Don José . . . he transcended in […]

14 May, 2016

Carmen-Teatro-San-Carlo-2015-Image-6

‘Carmen’ at Deutsche Oper Berlin

Brian Jagde returns to the Deutsche Oper Berlin this season, as Don José in the Deutsche Oper’s classic production of Bizet’s Carmen. Performances take place April 16, 22 & 24, and feature Irene Roberts in the title role, Heidi Stober as Micaëla, and Dong-Hwan Lee as Escamillo, with Jacques Lacombe leading the Orchester der Deutschen Oper Berlin.

16 April, 2016

In The Press

A “heroic” and “ringing” Bacchus in ‘Ariadne’ at Palm Beach Opera

The roles of Ariadne and the god Bacchus (who transforms the grieving heroine through love) challenge the singers with music of almost Wagnerian dimensions and difficulty. Both Wendy Bryn Harmer and Brian Jagde scored triumphs, meeting the vocal demands head on and turning the roles’ mythical stereotypes into real characters with deep emotions.

The role of Bacchus is notoriously high and more than one seasoned tenor has come to grief attempting it. Arriving in a ship of gold, Jagde’s refulgent, heroic sound swept all before him. His voice conveyed beauty and ardor as well as sheer strength and volume. In the concluding duet, a final burst of Straussian lyricism, Harmer and Jagde’s voices were thrilling.”
Lawrence Budmen – South Florida Classical Review

Ariadne’s deliverer, bright-voiced, handsome tenor Brian Jagde, comes through with ringing sound and endurance as Bacchus – a treacherous role that has been the downfall of many highly established heldentenors.”
Robert Croan – Palm Beach Daily News

Brian Jagde makes a “magical” and “brilliant” debut in HGO’s ‘Rusalka’

“Magical debuts make the myth alive in Houston Grand Opera’s Rusalka . . . Houston Grand Opera’s presentation embodies a magical sound that is out of this world . . . Making their HGO debut, two singers bumped this singing up from solid to brilliant. From his entrance late in Act One, tenor Brian Jagde stole hearts and took no survivors as the rakish prince . . . the prince (who, let’s be honest, kind of deserves it) has the infamous expiring aria. With his head on Martínez’s lap, Jagde sang his end so sweetly, his voice still abounding with vitality and breadth, it was hard to know we wouldn’t hear him anymore.”
Sydney Boyd – Bachtrack.com

“. . . Brian Jagde, an American tenor making his HGO debut as The Prince. This is perhaps the most stunning HGO debut I’ve witnessed this year. Jagde has a big, big voice, well-controlled, and it’s safe to say that no orchestra will ever drown him out. A striking actor, he looks the part of an archetypal prince.
Theodore Bale – CultureMap Houston

“From her woodlake pool, mermaid Rusalka has seen a man (tenor Brian Jagde, making a most impressive HGO debut.) When he swims in the water, she can only embrace him as a wave. But she longs to touch him, to be one with him, to become human and have a soul . . . The final duet, as the Prince begs Rusalka for her kiss of death, is almost hymn-like in its purity and emotional intensity.

. . . it’s young Jagde, as the Prince, who’s the revelation. Broad of shoulder and oozing stage presence, he’s a graduate of San Francisco Opera’s acclaimed Merola program and is making a solid run through the international opera world in leading tenor roles in Butterfly, Carmen, Tosca, Ariadne and Bohème. His ringing tenor fills the enormous Brown Theater with effortless rich, full, masculine tone. He has something of the legendary Canadian heldentenor Jon Vickers about him, and we hope he’s been signed up for future appearances at HGO. He is one to watch . . .

Dvorák’s sublime Rusalka is opera at its most grand, intimate and ultimately shattering. A standing ovation without parallel.”
D.L. Groover – Houston Press

A “passionate” and “virile” Don José in ‘Carmen’ at the Teatro San Carlo

Brian Jagde was an excellent Don José . . . he transcended in voice and the eloquence of his acting, and offered with Montiel artistic outbursts that I will remember forever. The end of the fourth act was dramatic and heartbreaking. A José madly in love and jealous that faces the refusal of his unbridled desires. Carmen’s murder was part of a vocal and gestural culmination that imprisoned all participants in a sublime musical delirium.”

{Brian Jagde fue un don José excelente . . . a medida que pasaba la representación su inmersión en el papel trascendía en elocuencia vocal y actoral, y ofreció junto con Montiel espasmos artísticos que quedarán para el recuerdo. El final del cuarto acto fue espectacular y desgarrador. Un don José loco de amor y de celos que se enfrenta a la negativa de sus deseos desenfrenados. El asesinato de Carmen formó parte de una culminación vocal y gestual que encarceló a todos los asistentes en un delirio musical sublime.}
Francisco Quirce – Codalario

A true and exact process of psychological evolution and timbre (was shown) immediately by the Don José of Brian Jagde; The pursuit of a light color and use of falsetto in the first part up to the interaction with Carmen, an act of release, began turning over to the acquisition of his (true) identity. Most surprisingly, the American tenor used darker registers, a burnished core sound, and full voice in the upper register in the later acts. The romance “La fleur que tu m’avais jetée” had a virile consistency and passionate abandonment.”

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VIDEO: ‘Carmen’ – Teatro San Carlo Opening Night (2015): “C’est toi?” – “C’est moi!” (Act IV finale)

"Brian Jagde - Don José, María José Montiel - Carmen, Zubin Mehta - conductor More videos