An “ardently” sung Narraboth in ‘Salome’ at Santa Fe Opera

The ardent, healthy-voiced tenor Brian Jagde was wonderful in the minor role of Narraboth.”
Zachary Woolfe – The New York Times

Brian Jagde was luxury casting as Narraboth, a role that could easily have been assigned to one of SFO’s excellent young artists. Mr. Jagde has been singing Puccini heroes of late, and he brought that same full-throated vocal approach to the young Syrian soldier.”
James Sohre – Opera Today

Brian Jagde, last seen at Santa Fe as Cavaradossi, sang the small role of Narraboth with exhilarating conviction.”
Simon Williams – Opera News

Brian Jagde’s James King-like Narraboth bespoke luxury casting.”
David Shengold – Gay City News

” . . . tenor Brian Jagde’s clarion voice made his performance as the sensitive Narraboth, the captain of the guard who kills himself over his unrequited love for Salome, even more poignant.”
Charles T. Downey – The Classical Review

The new production of Richard Strauss’ Salome unveiled by Santa Fe Opera on Saturday affords as fine an evening of musical drama as the company’s audience can hope for. It conveys the tale with clarity and some inspired flashes of unorthodoxy, capitalizes intelligently on the available stage resources, and boasts a cast that is spot-on from start to finish . . . All of the other four principals proved exemplary in their roles . . . The strange role of Narraboth, the captain of the guard, was sumptuously entrusted to Brian Jagde, whose tenor rang out ardently until he committed suicide 40 minutes into the opera, overcome by the emotional conflict of hearing Salome, for whom he has feelings, proclaim her lust for Jochanaan. Here he prefigured Salome’s Dance by doing a little striptease himself — first his sash, then a button here, a button there, but he opted for the dagger rather than proceed further.”
James M. Keller – Santa Fe New Mexican

Pay special attention to Brian Jagde, strong and sweet-toned as a Narraboth who responds to Salome’s obsession with the Baptist’s body/hair/lips with self-pleasuring erotic sympathy.”
John Stege – Santa Fe Reporter

“The first character to succumb to Salome is the Narraboth (Brian Jagde). Casting Jagde – as the Syrian captain who dangerously obsessed by the princess’ sexuality – was a brilliant choice. His Narraboth is physically handsome and vocally impressive.

Jagde’s gleaming spinto voice has made him a “must-have” tenor for Puccini’s great leading roles, and such parts as the Prince in Dvorak’s “Rusalka” (January 2016 at the Houston Grand Opera) and as Don Jose in Bizet’s “Carmen” (May-June 2016 at the San Francisco Opera.”
Opera Warhorses

As the guard captain Narraboth, tragically infatuated with Salome, Brian Jagde offers a thrilling tenor and some subtle autoeroticism.”
Scott Cantrell – The Dallas Morning News

“In the tiny but key role as the tragic young soldier Narraboth, whose fierce love for Princess Salome is never to be fulfilled, tenor Brian Jagde turns in a poignant performance, prefiguring, very early in the opera, the kind of fate likely to befall any honest and principled man or woman in King Herod’s fatally corrupt court.”
Terry Ponick – Communities Digital News

” . . . Brian Jagde (Narraboth) is definitely a name to watch.”
{Brian Jagde (Narraboth) es definitivamente un nombre a seguir.}
Sebastian Spreng – Miami Clásica

As Narraboth Brian Jagde was memorable, displaying his fatal obsession with Salome with musical and physical intensity.”
Peter Alexander – Sharps & Flatirons

Among the other good singers . . . was tenor Brian Jagde’s clarion Narraboth.
John von Rhein – The Chicago Tribune

Much of the singing was strong . . . As Narraboth, Brian Jagde had an appealingly large voice and good projection . . .”
Jesse Simon –

Brian Jagde’s love-sick guard represented the tenor part strongly through the early part of the opera . . .”
Michael Wade Simpson – CultureVulture

All of this was well served by the singers. Brian Jagde, as Narraboth, has a large, beautiful voice and expressed his agonized feelings well for Salome. If anything, casting such a star in this role may have given this part a bit too much prominence.”
Opera Buff – San Diego

As Narraboth, Brian Jagde too brings a stentorian voice to the Captain of the Guard, who soon into the opera does himself in as he cannot bear watching Salomé’s attempt to seduce Jochanaan.”
D.S. Crafts – Albuquerque Journal

Brian Jagde’s love-sick guard represented the tenor part strongly . . .”
Michael Wade Simpson – Bachtrack

On Thursday night it was musically excellent . . . Among the many smaller roles, tenor Brian Jagde’s Narraboth and the First Soldier of bass-baritone Nicholas Brownlee were standouts.”
Sarah Bryan Miller – St. Louis Post-Dispatch

“As Narraboth, the lovesick captain of the guards, Brian Jagde displays a young stentorian tenor . . . you never tired of hearing his excellently produced and supported tenor voice.”
Gregory Sullivan Isaacs – Theater Jones

“The company is also emphasizing its versatility in this summer’s three productions of familiar fare . . . Most thrilling of these was Salome (July 31), which matched its strengths from the cast and pit with superbly realized contributions from the director and design team . . .  Brian Jagde’s burnished tenor seemed almost too sturdy for the lovesick suicidal Narraboth.”
Thomas May – Musical America

Robert Brubaker as the sleazy King Herod and Michaela Martens as his “incestuous bride” Herodias also gave fine performances, as did the young tenor, Brian Jagde in the role of Narraboth.”
The HOT Report

Next Article

Opera spotlight: 'Ariadne Auf Naxos'

Prev. Article

Verdi's 'Nabucco' in Valencia