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Brian Jagde

  • Tenor

Reviews

Brian Jagde press reviews

“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.”

John von Rhein, “Chicago Tribune” August 3, 2012

“A late replacement as Cavaradossi, Brian Jagde has a truly heroic, and handsome tenor, but he shades it down to velvety pianissimos.”

Scott Cantrell, “Dallas Morning News” July 2012

“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.”

Craig Smith, “Santa Fe.com” July 6, 2012

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Brian Jagde sang Count Elemer with strength.

“Opera Tattler” July 29, 2012

“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.”

Gregory Sullivan Isaacs, “TheaterJones.com” August 2, 2012

“…particular potency came from tenor Brian Jagde as Count Elemer.”

Jim Keller, “The New Mexican” July 29, 2012

“Brian Jagde, a divine tenor voice.”

Christie Connolley, “The UpTempo Magazine” August 27, 2012

“Jagde sang with a big, ringing tone and dramatic conviction…”

Sarah Bryan Miller, “St. Louis Post-Dispatch” August 12, 2012

“The tenor, Brian Jagde, was quite good, if not quite stunning.”

“Odious and Peculiar Blog” August 12, 2012

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

Axel Feldheim, “Not For Fun Only”  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 that Ramon Vargas lacked in SFO’s recent production of Massenet’s Werther, 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.”

Jason Victor Serinus, “San Francisco Classical Voice”  December 2011

“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.”

Janos Gereben – “San Francisco Examiner” 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. Jadge’s voice has brightened and opened during his Adler Fellowship, and he could be heard in Act I over the orchestra.

Charlise Tiee – “Opera Tattler” September 2011

“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..”

Tim Smith  “Opera News”  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…”

Anne Midgette  “Washington Post”  June 2011

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

Tim Smith – “Baltimore Sun”  June 2011

“National Treasure Dolora Zajick was the headliner and she gave a generous sampling of why she is so beloved: “Ai nostri monti,” with probably the biggest-voiced partner she has had in a while, Brian Jagde.”

Janos Gereben – “San Francisco Classical Voice” August 2011

“As that original Ugly American, U.S. Navy Lieutenant Benjamin Franklin Pinkerton… Brian Jagde was forceful, decisive, and surprisingly powerful as Butterfly’s anti-hero…Mr. Jagde gave it a good go in a forceful 1st act, and was, surprisingly, affectively penitent during his brief appearance at the opera’s close.

If this performance gives us any clue, the youthful, physically attractive Mr. Jagde might find that moving to tenor will prove to be a significantly positive career move… he’s just the kind of voice and type that both musical and stage directors long to discover.”

Terry Ponick –  “Washington Times”  April 2011

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“I enjoyed the “E lucevan le stelle” that closed the 1st half… The orchestra maintained a transparent texture, providing a pleasing support for Brian Jagde’s beefy tenor.”

Axel Feldheim –  “Not For Fun Only”  December 2010

“Jagde sounded bright and reedy here [Carmen Final Duet}, as he did for “E lucevan le stelle.”

“San Francisco Opera Tattler”  December 2010

“Brian Jagde was an ardent Janek”

Georgia Rowe - “Opera News”  February 2011

“One of the delights of modern live opera performance is that the smaller roles are often sung by persons who will soon be or already are capable of performing lead roles….As examples, Brian Jagde played Baron Prus’ hapless son, Janek, and Susannah Biller his beloved, Kristina, both with distinction.”

William – “Opera Warhorses”  November 2010

“Touching were the performances of Adler alumni Thomas Glen as Vitek and Brian Jagde as Janek, the callow young victim of Elina’s perfected sexual prowess.”

Michael Milenski - “Opera Now”  November 2010

“Tenor Brian Jagde made the most of the small role of the messenger.”

“San Francisco Opera Tattler”  November 2010