Tenor Brian Jagde, in his finest company outing to date, was a big-voiced Cavaradossi, producing firm, heroic sound throughout. His impassioned performance of the Act III aria, “E lucevan le stelle,” was a highlight of the evening.

“As Tosca’s lover Mario, tenor Brian Jagde was handsome, both vocally and in appearance, making for an alluring pairing with the entrancing Giannattasio. His sonorous, clear voice filled the house, and his top notes had particularly piercing power, culminating in a touchingly resolute rendition of the exquisite Act 3 “E lucevan le stelle.”
James Ambroff-Tahan – San Francisco Examiner

“Jagde, who was reprising a role he played here with authority and a thunderously exciting voice in 2012 and 2014 … Jagde more than held his own, whether he was belting out a torture victim’s defiant “Vittoria!” at the news of a military reversal for Scarpia or caressing his way through “E lucevan le stelle.”
Steven Winn – San Francisco Classical Voice

“Tenor Brian Jagde, in his finest company outing to date, was a big-voiced Cavaradossi, producing firm, heroic sound throughout. His impassioned performance of the Act III aria, “E lucevan le stelle,” was a highlight of the evening.”
Georgia Rowe – Mercury News

“As Cavaradossi, the painter in over his head as dangerous political intrigue catches him in its vortex, tenor Brian Jagde offered muscular singing, a ringing top and rough-hewn phrasing. He dialed it back nicely for the Act III aria, ‘E lucevan le stelle’, but returned with high energy for a thrilling à capella moment with Giannattasio in the duet that followed.”
Harvey Steiman – Seen and Heard International

“American tenor Brian Jagde (New York, New York) has portrayed the heroic political activist-artist Cavaradossi in the last two SFO productions of “Tosca” to notable success. That may be the reason why Management has selected him as the obvious go-to guy for the role. He looks great on the big stage, with his dashing good looks and believable acting skills. He also has the clarion vocal quality needed to fill the big auditorium.”
Philip Campbell – Bay Area Reporter

“Tenor Jagde delivered his two arias with a delicacy of feeling and a mastery of Italianate technique …”
Michael Milenski – Opera Today

“Her tenor and lover, the American Brian Jagde, was an excellent match for her vocally and physically. (He was reprising a role he’d sung in both 2012 and 2014 in San Francisco).   He has a powerful voice that can raise the rafters but can also be tender and quiet. They made a beautiful couple with a lot of chemistry and commanded the stage when they were on it.”
Elsa Tranter – Classical Voice

“Jagde brings ardor, vocal agility, and a relaxed naturalism to his Cavaradossi.”
Theatrius

“Dramatic tenor Brian Jagde, a tall strapping man, came off compellingly as the painter-lover Mario, heavier of voice but unfailingly central to the action and passion.”
Paul Hertlendy – ArtsSF

“Jagde sang with vibrant colorings and showed a striking presence throughout. His two big numbers rang powerfully. But what was the most telling aspect of the performance was the combustible chemistry between Giannattasio and Jagde at every encounter. Sparks flew and energized the night …”
Caroline Crawford – Local News Matters

“New York tenor Brian Jagde, a former San Francisco Opera Adler Fellow and, like GIannattasio, an Operalia winner, had performed the role of Cavaradossi in the last two seasons (2012 and 2014)  in which “Tosca” was performed at the San Francisco Opera, Jagde was an obvious choice for the cast launching the new production.

Possessing a sturdy, dusky-colored spinto tenor, Jagde brought sustained lyricism to Cavaradossi’s two great arias, the first act Recondita armonia and the last act E lucevan le stelle, and power to his second act defiant celebration of a Napoleonic victory.I have been fortunate to have been present at Jagde’s role debut as Cavaradossi [see Echalaz, Jagde, Aceto Open Santa Fe Opera Season in Wonderfully Sung “Tosca” – June 29, 2012] as well as a San Francisco performance [Review: Lianna Haroutounian Triumphs as Tosca – San Francisco Opera, October 23, 2014].An intelligent artist and actor, still in the early part of an important career, one expects the addition of other iconic spinto roles to his repertory in the next few years. [See Rising Stars: An Interview with Brian Jagde]”
William Burnett – Opera Warhorses

“Tenor Brian Jadge has also performed Cavaradossi here many times, and did well. His voice is as loud as ever, and his arias sounded great. His fall in Act III looked alarmingly authentic.”
Opera Tattler

“On Wednesday, he handled the role with distinction, bringing ardor and vocal bloom to the big arias in Acts 1 and 3, and facing off nobly against the forces of right-wing oppression in Act 2.”
Joshua Kosman – San Francisco Chronicle

“Tenor Brian Jagde, veteran from the last two revivals here (2012 and 2014), came very close to being the hero for the night. His voice has darkened considerably since the last time I saw him, but he gained more depth and understanding in his interpretation. His Cavaradossi was a happy and carefree man, almost childlike, totally oblivious of the tragic turn of events.

This was particularly evident in the banter during the opening scene with Dale Travis’ Sacristan, played for laughs. “Recondita armonia” Jagde sang expressively without being overindulgent … From the “Mario! Mario” call, it was obvious that Giannattasio’s Tosca was a full-fledged woman; confident and yes, in love. Giannattasio has a dark soprano voice that was an asset for a role like Tosca. She and Jagde were believable as lovers, in fact, they developed great rapport and their voices blended harmoniously. Sparks flew on stage when they were together.”
Michael Anthonio – Parterre

“Caravadossi, sung by tenor Brian Jagde was hero-worthy. His soaring top register rang in each of his great arias, most particularly in “E Lucevan le stelle,” where his strength and power sent that voice to the stars above. We felt it. There was substantial intensity as he encircled Tosca in his arms, or when he threw Scarpia’s chair in Act two, or prepared for his “pretend” execution in Act three.”
Lois Silverstein – Operawire

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