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.


Arabella, The Metropolitan Opera

“ … Brian Jagde brandished a big, muscular tenor as Elemer, most attractive of Arabella’s beaux.”
Observer.com – James Jorden – 4/8/2014

” … Brian Jagde is volubly enthusiastic as Elemer, one of Arabella’s young admirers, in his first performance here.”
HuffingtonPost.com – Wilborn Hampton – 4/4/2014

“Mr. Brian Jagde who portrayed Count Elemer was pleasing to both the eyes and the ears…”
Parterre.com – 4/4/2014

“Brian Jagde had a more finessed tenor as Count Elemer, especially in his mid-voice”
Latinos Post – David Salazar – 4/14/14

“A special mention has to be made to tenor Brian Jagde, who sang Count Elemer. He immediately stood out from the trio of Arabella’s suitors thanks to his handsome stage presence and, most of all, of his gorgeous voice. He has trumpet-like, ringing high notes that reverberated in the auditorium.”
OperaClick.com – Ingrid Haas – 4/7/14

“Jagde is a powerful Heldentenor-in-training . . . I certainly would like to hear him in something where he has more to do.”
Likely Impossibilities – 4/15/2014

“. . .  Brian Jagde was a memorable Count Elemer.”
Classical Source – Susan Stempleski – 4/3/2014

“As Count Elemer, Brian Jagde’s sunny tenor and smiling countenance lit up the stage.”
Gay City News – Eli Jacobson – 4/30/2014

Rusalka, San Antonio Opera

“Rusalka, a water nymph, seeks to become human to pursue her love of the prince, sung admirably by tenor Brian Jagde.”
San Antonio Express News – David Hendricks – 2/1/14

“Mr. Jagde’s warm, satin-smooth core voice was lovely, but he also showed some dramatic possibilities at full voice, when a steely edge and a shower of bright overtones emerged… this clearly is a tenor worth watching.”
Incidentlight.com – Mike Greenberg – 2/3/14

Carmen, Opéra de Limoges

“Ce sont d’ailleurs les mânes d’Enée qui transparaissent dans le Don José de Brian Jagde. Heldentenor au grain wagnérien et straussien, il confère au rôle, par son émission généreuse…  Il sait tirer profit de son timbre inté- ressant, riche en nuances, et appartient à la catégorie des trop rares solistes qui maîtrisent le chant en voix mixte, donnant aux airs du personnage la densité musicale et émotionnelle qui leur reviennent de droit.”
ConcertoNet.com – Gilles Charlassier  1/1/14

[“There are also the spirits of Aeneas that are reflected through the Don José of Brian Jagde. The heldentenor with a grain of Wagnerian and Straussian (color) gives this role its generous expression… He knows how to capitalize on his interesting timbre, rich in nuances, and belongs to the category of too few soloists who have mastered singing in mixed voice, rightfully giving the airs of the character musical density and emotion.”]

“Le Don José de Brian Jagde, ténor américain puissant et égal, séduit par sa ligne vocale et ses phrasés soignés, qui lui permettent de faire passer une émotion véritable dans ses déchirements, comme dans le célèbre air « La fleur que tu m’avais jeté » (qu’il conclut diminuendo, en voix de tête), ou encore la dernière scène, un modèle d’intensité dramatique.”
Opera-Online.com – Emmanuel Andrieu – 1/7/2014

[“The Don José of American tenor, Brian Jagde, was powerful and even, seducing with his vocal line and cared for phrasing, allowing it to demonstrate a real emotion in his anguish, as in the famous aria “La fleur que tu m’avais jetée” (which he concludes diminuendo in floated head voice), or even the last scene, a model of dramatic intensity.”]

“Pour Brian Jagde, le probème n’est pas le même: On sent le ténor Américain, bien jeune lui aussi, armé pour aborder les grands emplois Wagnériens ou Samson. Aigus vaillants, sens des nuances, en font un Don José fort valable…”
Opéra Magazine – Pierre Cadars – 2/1/14

[“The case isn’t the same with Brian Jagde: We can feel that the American tenor, who is also young, is ready for the big Wagner roles and roles like Samson.  Heroic top notes, sense of phrasing and nuance, make for a valuable Don José…”]

Arabella, Minnesota Opera

“Matteo [was] impressively sung by Brian Jagde.”
Opera News – Michael Anthony – 2/1/14

“Brian Jagde’s strapping Matteo is the very model of tenorial ardor; his instrument could fill several Ordways.”
Star Tribune – Larry Fuchsberg – 11/11/13

“As the sister and the soldier she desires, Elizabeth Futral and Brian Jagde inject some passionate urgency into the center of the story..”
Pioneer Press – Rob Hubbard – 11/10/13

“Tenor Brian Jagde, who will appear in “Arabella” at the Met this season, was impressive as Matteo..”
Post-Bulletin – Jay Furst – 11/11/13

“Brian Jagde, a young tenor in possession of the finest voice of the night, sang Matteo.”
Andrew & Joshua Blogspot – Andrew Vanz – 11/15/13

Tosca, San Francisco Opera

“Racette’s Cavaradossi, Brian Jagde, took top honors among the alternating casts.  The artist’s large, well-placed tenor sounded supple in “Recondita armonia,” virile in “Vittoria!” and tender in “E lucevan le stelle.”
Opera News – Georgia Rowe – 2/1/13

“Tenor Brian Jagde (Cavaradossi) strode onstage with the ease and assurance of a seasoned pro. From his first phrase, filled with power and conviction, it was clear that this was going to be a very, very different night.
Jagde has done his Divo homework. His rapturous opening love song, “Recondita armonia” (Oh hidden harmony) was not only ardent and filled with feeling, but also climaxed with a burnished high B-flat that grew in power and intensity until he felt assured that it had made its mark. Jagde then followed up with a final “sei tu” intentionally overstretched to elicit cheers.
Jagde, a Cavaradossi who clearly delights in his beloved’s show of jealousy, smiled, approached from behind as she played pious before the statue of the Madonna, and lifted her head covering with the seductive joy of someone who has lifted far more in the recent past. And then, with voices far stronger than we heard the night before, the two went for it… She certainly knows how to play a role for all its worth. Nor is Jagde anywhere the slouch. Mixing vocal passion with a host of gestures unseen the night before, this duo guarantees delight… Jagde’s interplay with Tosca was delightful and affecting.”
San Francisco Classical Voice – Jason Victor Serenius – 11/17/12


Tosca, Santa Fe Opera

“That leaves the promising young American tenor Brian Jagde to walk away with the vocal and dramatic gold as an uncommonly ardent Cavaradossi, nailing his arias with robust vocalism.”
Chicago Tribune – John von Rhein – 8/3/12

“A late replacement as Cavaradossi, Brian Jagde has a truly heroic, and handsome tenor, but he shades it down to velvety pianissimos.”
Dallas Morning News – Scott Cantrell – 7/29/12

“American tenor Brian Jagde, who came into the production quite late, sang Tosca’s lover Cavaradossi with such incisive sound… Jagde clearly loved showing off his bright, bronze-strong high notes, and it was nice to hear such healthy, confident vocalism.”
Santa Fe.com – Craig Smith – 7/6/12


Arabella, Santa Fe Opera

Brian Jagde sang Count Elemer with strength.
Opera Tattler – 7/29/12

“Brian Jagde, who impressed greatly as a last minute replacement in the role of Cavaradossi in Tosca, was equally impressive as the rejected suitor, Count Elemer in Arabella.”
TheaterJones.com – Gregory Sullivan Isaacs – 8/2/12

“…particular potency came from tenor Brian Jagde as Count Elemer.”
The New Mexican – Jim Keller – 7/29/12

“Brian Jagde, a divine tenor voice.”
The UpTempo Magazine – Christie Connolley – 8/27/2012

“Jagde sang with a big, ringing tone and dramatic conviction…”
St. Louis Post-Dispatch – Sarah Bryan Miller – 8/12/12

“The tenor, Brian Jagde, was quite good, if not quite stunning.”
Odious and Peculiar Blog – 8/12/12

“Brian Jagde made a good impression with his stentorian top notes and over-the-top take on Count Elemer.”
Opera Today – James Sohrem – 9/27/12

Werther, Adler Fellows Gala Concert

“Tenor Brian Jagde, in his aria from Werther got cheers for his brawny singing & belting high notes.”

Not For Fun Only – Axel Feldheim – December 2011

“Jagde supplied what so many other tenors on today’s main stage lack: soul. Totally assured throughout his range, with the essential expanse of volume on top . . . Jagde’s “Toute mon àme est là… pourquoi me réveiller?” had all the gravity and weight to make Werther come alive… Jagde made me believe in his singing.”

San Francisco Classical Voice – Jason Victor Serinus – December 2011

Lucrezia Borgia, San Francisco Opera

“Adler Fellows past and present and young artists sang as if they have spent decades on main stages. Austin Kness (Gazella), Brian Jagde (Vitellozzo), Igor Vieira (Gubetta), Daniel Montenegro (Rustighello) and Ryan Kuster (Astolfo) displayed so much talent that that should have been used in a better vehicle – or opera.”

San Francisco Examiner – Janos Gereben – September  2011

“Many of the young cast members showed much promise. In the smaller roles, Brian Jagde (Oloferno Vitellozzo) and Daniel Montenegro (Rustighello) stood out. Jagde’s voice has brightened and opened during his Adler Fellowship, and he could be heard in Act I over the orchestra.”

Opera Tattler – Charlise Tiee – September 2011

La Bohème, Castleton Festival

“Brian Jagde, a very convincing Rodolfo, brought an ample, finely focused voice to the production.  He capped “Che gelida manina” with a final note that lingered long and beguilingly…the ardor of his singing paid off all night..”

Opera News – Tim Smith – Sept 2011

“Brian Jagde, recently heard in this area as Pinkerton in the Virginia Opera’s “Madama Butterfly” but sounding more assured here, [had] some beautiful singing, now nuanced, now ringing and forceful…”

Washington Post – Anne Midgette – June 2011

“Brian Jagde sang Rodolfo with a good deal of vocal flair… the ardent, well-focused vocalism paid off.”

Baltimore Sun – Tim Smith – June 2011

Page 3 of 512345