Tenor Brian Jagde makes his debut at Palermo’s Teatro Massimo this season, as Lt. Pinkerton in a new production of Puccini’s Madama Butterfly. Performances take place September 16, 18, 21 & 24, and also feature Hui He in the title role, Anna Malavasi as Suzuki, and Giovanni Meoni sings Sharpless, with conductor Jader Bignamini. The premiere staging is directed […]
11 September, 2016
“In this hard-scrabble concept, Don José stood out as the clueless romantic, and Brian Jagde sang the “Flower Song” with all the passionate abandon of an adolescent in love for the first time.” Heidi Waleson – Wall Street Journal “Bizet’s score remains just as exciting as ever and (though there won’t be a rose between anyone’s teeth) […]
30 May, 2016
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
“. . . tenor Brian Jagde, who sang a robust “Nessun dorma” from Puccini’s Turandot.”
James Roy MacBean – Berkeley Daily Planet
“In this hard-scrabble concept, Don José stood out as the clueless romantic, and Brian Jagde sang the “Flower Song” with all the passionate abandon of an adolescent in love for the first time.”
Heidi Waleson – Wall Street Journal
“Bizet’s score remains just as exciting as ever and (though there won’t be a rose between anyone’s teeth) the principal cast and chorus are fabulous. Brian Jagde’s lyric tenor chops are enthralling, his rendition of Don José’s Act 2 aria, “La fleur que tu m’avais jetée” (The Flower Song) is dazzling. Brian’s ascension on the phrase that leads to the sustained high B-flat is delivered gently and seamlessly, the tonal quality is jewel-like. Even at the opening night performance, he knocked it out-of-the-park. As thousands cheered.”
Sean Martinfield – Huffington Post
“Brian Jagde’s Don José alone gave us goosebumps, holding nothing back emotionally as he gave stentorian notice that the force was with his instrument.”
Lee Eisman – Classical Scene
“. . . the final scene between the proud and reckless title character and her spurned lover Don José pulses with an almost frightening charge . . . this is a raw, emotionally confrontational Carmen, insisting that the audience look straight into the eye of passion’s pitiless storm.
Mezzo-soprano Irene Roberts and tenor Brian Jagde were magnificently real in their final, fated scene . . . Jagde, his voice by turns chastely pleading, menacing and desperately stretched, staggered like a puppet coming loose from his strings. Here is the final, inevitable undoing of a beefy, hometown boy who gets in over his head with a woman who has reeled him in and cut him off. It’s a terrible, transfixing thing to witness . . . that climax delivers the evening’s crowning blow . . . the second two [acts] pay off with sustained high dividends. When Carmen and Don José circle each other in that bullring, they’re playing out a destiny that’s much bigger than the two of them . . . Stunning and dramatically compelling . . . ”
Steven Winn – San Francisco Classical Voice
“Brian Jagde made an impressive debut as Bacchus, physically portraying both the preening tenor and the heroic god. He met the musical challenges without appearing to tire. The climactic duet with Ariadne was a fulfillment rather than another series of challenges: a fitting culmination to a brilliant love letter to music and theater.”
Karl W. Hesser – Opera News
“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
“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