Puccini’s “Tosca”: E lucevan le stelle

Lyric tenor Brian Jagde performs Cavaradossi’s dramatic aria “E lucevan le stelle” from the third act of Tosca by Puccini live with Orchestra.

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Brian Jagde: Rasante Karriere (“Rising Career”)

In February he was heard in “Adriana Lecouvreur” alongside Angela Gheorghiu at her 25-year London stage jubilee. Now the tenor presents himself for the first time to the audiences in Washington, Stuttgart and Madrid. A conversation about his path to the international stages …

— Dr. Andreas Laska, Das Opernglas

In February, you were the Maurizio at the side of the Adriana of Angela Gheorghiu at her 25-year jubilee on the London stage. How was this particular experience?

It was wonderful, an experience that is very rare. Angela is a great colleague, and having someone like her by my side was a great support for me. Actually, the whole run was a singular celebration, the audience was very enthusiastic. It even “rained” flowers at the last performance. In addition, this production by David McVicar is the best staging of the work that I can imagine. It’s not for nothing that it’s been seen at various houses around in the world.

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Brian Jagde on flawed characters and finding his voice (Bachtrack exclusive)

American tenor Brian Jagde has just made his return to the Royal Opera singing Maurizio in Sir David McVicar’s production of Adriana Lecouvreur. Two of his key roles in his career so far have been Don José in Carmen and Pinkerton in Madama Butterfly, which he’s performed from Berlin to Munich, from San Francisco to Washington.

MP: Don José and Pinkerton are two deeply flawed characters.

BJ: Don José has been a favorite because I love the idea of digging into a character with that level of insecurity. Having been insecure myself at times when I was younger, I have revisited some of the tough lessons from my past, but of course Don José has gone a lot farther down the rabbit hole than I ever did! The idea that this man is a killer from before the opera begins implies that he is not some innocent guy who is drawn to darkness by Carmen, rather he is drawn to her because she truly sees who he is. They are both deeply flawed, and they bring out the worst in each other. He solves his problems (or tries to) through violence, and initially she loves that fire within him and likes to play with his emotions.

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Brian Jagde sings with “tonal beauty” and “passion” in role debut as Maurizio in ‘Adriana Lecouvreur’ at The Royal Opera

“When I interviewed Brian Jagde a year or two back he described himself modestly as “fresh off the boat”. On this showing we should be offering him UK nationality. The young American’s voice has grown in power and tonal beauty even in the short time that’s elapsed since he sang Pinkerton here. Already a prodigious instrument, it has the potential for him to become one of the great modern tenors.”

Mark Valencia – What’sOnStage

“The American tenor Brian Jagde made a terrific role debut as the hero Maurizio. He has a pliant tone, pinging accuracy, stamina, shading and an astounding ability to make the voice grow throughout a phrase. What a voice. In 2010 Jonas Kaufmann sang the role, and this month has his own residency at the Barbican. So keep your ears on Jagde.”

Fiona Maddocks – The Guardian

“… the American tenor Brian Jagde (pronounced Jade) sported a handsome presence and beefy tenor with explosive high notes that will doubtless carry him far …”

Hugh Canning – The Times

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5 Exciting Stars That Should Not Be Missed At the San Francisco Opera’s 2017-18 Season

Brian Jagde – Calaf in Puccini’s “Turandot”

Last season Jagde made a splash in his role debut as Radames in Verdi’s “Aida” in San Francisco. Since then he has been making debuts around the world and  has become one of the most promising spinto tenors of his generation. This season audiences will have a chance to see his first Calaf which also means a new interpretation of “Nessun Dorma,” the show-stopping aria in the opera. And Jagde will have two excellent sopranos to sing alongside him – Martina Serafin and Nina Stemme.

Francisco Salazar – Operawire

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Critical acclaim for debut at Bayerische Staatsoper in ‘Carmen’

“Great respect! Most convincingly, his portrayal of Don José in the final act was a completely depressed man tormented by hopeless despair.”

{Großer Respekt! Am überzeugendsten war seine Gestaltung des Don José in der Endphase als völlig niedergeschlagener, von auswegloser Verzweiflung gepeinigter Mann.}

Martina Bogner – Online Merker

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The Non-Stop Debutant – Brian Jagde on Busy 2017, Verdi, Wagner & His Five House Debuts [OperaWire Exclusive]

30 performances. Seven cities. Five house debuts and two role debuts.

That is what tenor Brian Jagde faces in 2017. The first half of 2017 that is.

The tenor, who has been growing in prominence over the last few years, is slated for a monstrous calendar year that will see him make more house debuts than he ever has before.

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“Best of 2016” Mentions

“Palm Beach Opera Ariadne auf Naxos – Top Ten Performances of 2016: A musically idiomatic and theatrically adroit staging of Strauss’ blend of vaudeville and Grecian tragedy filled the Kravis Center stage in March. Daniel Witzke’s witty stage direction and Andreas Delfs’ masterful conducting formed a strong underpinning for the thrilling vocalism of Wendy Bryn Harmer in the title role and Brian Jagde as Bacchus.” (South Florida Classical Review)

“Outstanding performance (couples skate): Irene Roberts as Carmen and Brian Jagde as Don José in Carmen. This couple really sizzled.” (Sly Wit 2016 Figaro Awards)

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Tenor Brian Jagde Performs At Time In Children’s Arts Initiative [OperaWire Exclusive]

Not many people get the chance to see an opera singer up close and personal. Even in a recital hall or opera house, there is a distance created by the stage. The connection comes from the music and the artistic involvement on both ends of the spectrum.

But on Tuesday, New York students were able to get an experience few others can claim to have – seeing an opera singer up-close. And by up-close, I mean arms length. Brian Jagde, the tenor making major house and role debuts around the United States and Europe over the coming months, came to Time In Children’s Arts Initiative and performed a selection from Bernstein’s West Side Story alongside pianist Lara Downes, who also performed “Over the Rainbow” …

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Brian Jagde is “impressive” and “ardent” in role debut as Radamès in new ‘Aida’ at San Francisco Opera

” In his first Radamès, tenor Brian Jagde had an impressive night, singing with firm, ringing tone in “Celeste Aida” and projecting a sense of vigor and vitality throughout the opera.”

Georgia Rowe – Opera News

“… the delicately spun lyricism of tenor Brian Jagde as Radames — his “Celeste Aida” aria had the necessary heft …”

Richard Bammer – The Reporter

“Tenor Brian Jagde (in his role debut, as is Crocetto), was fine as the military hero who saves Egypt but unwittingly betrays his country when he reveals military secrets to his beloved Aida. His clear, supple voice made was favorable from the get-go with the Act 1 signature aria “Celeste Aida.”

James Ambroff-Tahan – San Francisco Examiner

“Jagde fulfilled the role’s dual demand for both lyrical and heroic voices, showing promise for a future heldentenor career.”

Janos Gereben – Classical Voice North America

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Talking with Singers: Brian Jagde

“When you’re stepping onto the stage at San Francisco Opera, you kind of forget,” says Brian Jagde of the long line of famed tenors who have sung at War Memorial Opera House. He is set to sing his first Radamès, in Francesca Zambello’s new production of Aïda; the combination of Verdi’s masterpiece and the San Francisco Opera – a major site in the history of opera in America – holds a gravity that’s not lost on Jagde.

“So many historical tenors that have made either role debuts here, or just really left a mark in most of the minds of the fans here,” he says, referring to the likes of Mario del Monaco, Richard Tucker, and Luciano Pavarotti. Though the pedigree is impressive, pondering it is not part of Jagde’s process with Radamès, or any of the iconic tenor roles he sings. “Every one of those voices was different, and they all approached things differently,” he explains. “I try to first approach everything from ‘how would I do this?'”

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