Bryan Hymel press reviews
Simon Bolivar Orchestra, Caracas, Venezuela - Carmen
Don José in the voice of tenor Bryan Hymel was a sympathetic character for the audience, who sat breathlessly during the arias in the repertoire.
La Nacional, July 13, 2010
Royal Opera House, Covent Garden - Carmen
Bryan Hymel’s José is an appealing voice . . . He sings Bizet’s music with a refinement that few tenors manage.
Neil Fisher, The Times, June 10, 2010
[Bryan Hymel] rose to the demands of the Flower Song, and he was at his best when it counts most in the final act.
Martin Kettle, The Guardian, June 9, 2010
Don Jose was sung admirably by US tenor Bryan Hymel.
Sebastian Taylor, The Islington Tribune, June 10, 2010
De Nederlandse Opera – Les Troyens
Bryan Hymel gained confidence in Les Troyens á Carthage and gave a heroic ‘Inutiles regrets.’
Erna Metdepenninghen, Opera, July 2010
American tenor Bryan Hymel was Aeneas; his lyrical voice was a perfect complement to Dido as they sang one of the most beautiful love duets in the operatic repertoire, "Nuit d'ivresse" ("Night of Boundless Ecstasy").
Ruth Taber, The El Paso Times, June 20, 2010
Canadian Opera Company – Carmen
The American tenor Bryan Hymel impressed with his clarion tone and a ringing top.
Joseph So, Opera, May 2010
As the doomed leading man, Bryan Hymel was vulnerable and powerful by turns, but always poignant. His sweet voice spins each note with lovely delicacy, matched only by the ferocity he exudes in desperate anger.
Roselyn Kelada-Sedra, Plank Magazine, February 8, 2010
New Orleans tenor Bryan Hymel turned in a passionate and thrillingly sung Don José.
Ken Winters, The Globe and Mail, January 28, 2010
Bryan Hymel has a powerful tenor with a rapid vibrato that suits the French repertoire.
Christopher Hoile, Opera News, January 2010
[Hymel] soared in the final act, revealing a vulnerable and impassionate Don José at his wits’ end.
L.H. Tiffany Hsieh, La Scena Musicale, February 1, 2010
Hymel delivers a powerful portrayal of Don José’s degeneration from dutiful soldier to an outlaw who is gradually consumed by his passion.
Madaline Hubert, The Epoch Times, February 9, 2010
Canadian Opera Company – Madama Butterfly
As Lt. Pinkerton, the amorous American officer who loves, then leaves, Butterfly in an act of callously amorous imperialism, tenor Bryan Hymel makes an impressive company debut, bringing both a physical and a vocal swagger -- each equally fearless -- to a role that becomes increasingly less flattering the better it is performed.
John Coulbourn, The Toronto Sun
Hymel's compact, shining tenor was a pleasure to hear, even when you wanted to slap his character's face. Pinkerton should be both attractive and obtuse, and Hymel worked the combination to the very end, seeming almost as callow in his regret as in his egotism. But he made me believe in the character's tenderness during his major scene with Butterfly, as the two indulged in mutual incomprehension of the most intimate sort.
Robert Everett-Green, The Globe and Mail
English National Opera – Madama Butterfly
Bryan Hymel makes an auspicious ENO debut as Pinkerton (for once, here’s an American import worth the plane fare), his big, ringing tenor wrapped up in Colgate smiles and boyish naivety.
Neil Fisher, The London Times
Boston Lyric Opera - Rusalka
The whole level rose with the entrance of Bryan Hymel’s Prince, a Wexford-tempered impersonation notable for ardent acting and a remarkably pleasing, secure tenor.
David Shengold, Opera
Bryan Hymel was ardent and charismatic as the inconstant Prince, his gorgeous lyric tenor making it easy to understand why Rusalka would risk everything for love. His singing was simply thrilling, stopping time when he hooked into a high note to let it blossom and breathe, releasing a ripple of excitement in the audience when he let it go.
Kalen Ratzlaff, Opera News Online
Wexford Festival – Snegurochka
Meanwhile Bryan Hymel, as the Tsar, has a voice like Roberto Alagna's in his prime…
Michael Church, The Independent
The evening’s high-flyers include Bryan Hymel’s vivid Tsar Berendey…
George Hall, The Stage
George London Foundation Recital
Mr. Hymel's principal attributes are a strong, flexible tenor and an attractive warm timbre. He began with German works - Beethoven's "Adelaide," two Strauss songs and a Lehar aria - and projected them with a current of heroic steeliness (lightened somewhat in the Lehar). But it was hard not to feel that for Mr. Hymel, the real business at hand was the Italian repertory in the second half . . . In a group of sentimental songs (including "Torna a Surriento") as well as "Mamma, quel vino è generoso" from Mascagni's "Cavalleria Rusticana, Mr. Hymel sounded entirely at home, delivering both the subtle decoration and the heart-on-the-sleeve emotion that drives the Italian style.
Allan Kozinn, The New York Times, March 24, 2008
New Orleans Opera – Il Trittico
Standout singers included tenor and New Orleans native Bryan Hymel, in ardent form as Luigi in Il tabarro.
Opera Now, March/April 2008
Tenor Bryan Hymel continues to show himself as one of the finest young voices to come out of New Orleans in recent years. Playing a pair of lovers -- Luigi in "Il Tabarro" and the bright-eyed Rinuccio of "Schicchi" -- he offered an appealing clarion voice, finding the appropriate heft as the doomed stevedore, and delivering what became a heart-tugging tribute to New Orleans with Rinuccio's big aria.
Nola.com, November 20, 2007
Before launching into more than half-century's worth of beloved Broadway tunes, Mr. Nero saluted the passing of a vocal hero with a tribute to Luciano Pavarotti. Sung by Bryan Hymel, a second-year resident artist at the Academy of Vocal Arts, the chill-inducing notes swirling around Verizon Hall offered a solemn and reverent farewell to the magnificent tenor, and as Mr. Nero remarked, "performances by singers like [Hymel] won't allow us forget him."
The Bulletin, October 8, 2007
Bard Music Festival – Eine Florentinische Tragödie
As her aristocratic lover, Bryan Hymel mustered a striking tenor that cut through ensembles; as yet he works more in terms of finding healthy through lines than of inflecting words, but his is a talent to watch.
Opera News, November 2007
Wexford Opera Festival - Rusalka
Among singers, the American tenor Bryan Hymel impressed hugely with his distinctive, ringing voice as employed in the role of the Prince.
Opera Now, November/December 2007
The young American tenor Bryan Hymel made a most impressive European debut as the Prince, with heroically robust tone and good musical instincts. He seemed happier the higher he went, with a stunning top C in the final duet, which he hung on to as long as musically decent, and then sang his final phrases in melting half voice. Lovely!
Opera, October 2007
The score sounded absolutely marvelous. The same held true from a vocal point of view. With his strong, distinctive voice, American Bryan Hymel made a splendidly bold, virile Prince.
Opera News, September 2007
To this, add some exceptional voices in the major roles. Bryan Hymel thrills as the Prince.
George Hall, The Stage, June 5, 2007
The part of the Prince is sung by Bryan Hymel, a fine tenor who sings with great passion.
Independent.ie, June 16, 2007
Tenor Bryan Hymel is the ardent Prince.
Pat O’Kelly, The Irish Independent, June 6, 2007
And the enraptured, perplexed Prince of US tenor Bryan Hymel was ardent and engaging.
Michael Dervan, The Irish Times, June 4, 2007