Brian Anderson

anderson2-72Tenor
Bio
Photos
Audio
Suggested Operatic Repertoire
Review Excerpts

Bio
Brian Anderson recently made a triumphant return to Florida Grand Opera for his first performances of Belmonte in Die Entführung aus dem Serail. He has appeared with Florida Grand Opera as Ferrando in Cosí fan tutte; Tamino in Die Zauberflöte, and as Johnny Inkslinger in Paul Bunyan, following his debut there as Count Belfiore in Mark Lamos’s staging of La finta giardiniera. He made his Palm Beach Opera debut as Lindoro in L’italiana in Algeri; his Dallas Opera debut as Scaramuccio in Ariadne auf Naxos; his Glimmerglass Opera debut in the dual roles of Fenney/Hugo in Richard Rodney Bennett’s The Mines of Sulphur; his Opera Omaha debut as Johnny Inkslinger, and returned to Opera Omaha for Almaviva in Il barbiere di Siviglia; and his New York City Opera debut as Count Belfiore, followed by a return to New York City Opera as Don Ottavio in Don Giovanni. Other recent appearances include the tenor soloist in Liszt’s Missa Solemnis with the American Symphony Orchestra; Don Ottavio with the Westfield Symphony Orchestra; Nemorino in L’Elisir d’amore with Sonoma Opera; Tybalt in Roméo et Juliette with Florida Grand Opera; Flavio in Norma with the Concert Association of Florida; and Nencio in Haydn’s L’infedelta delusa with the American Symphony Orchestra. In addition, he covered Ernesto in Don Pasquale with New York City Opera.

Future engagements include his debut with the Opera Company of Philadelphia as Jaquino in Fidelio; and his debut with Chicago Opera Theatre as Lechmere in Owen Wingrave.

As an Adler Fellow, Brian Anderson made his San Francisco Opera debut as the Second Priest in Die Zauberflote and has since appeared with the Company in Otello, Ariadne auf Naxos, Rigoletto, Die Meistersinger von Nurnberg, Carmen and Simon Boccanegra. He sang Belfiore in San Francisco Opera Center‘s production of La finta giardiniera, Linfea in the Opera Center’s Showcase production of Cavalli’s La Calisto and Mr. Upfold in the Opera Center’s Showcase of Albert Herring. A Merola Opera Program participant in 1999 and 2000, he performed the roles of Eisenstein and Alfred in Western Opera Theater‘s national tour of Die Fledermaus, and the role of Don Ottavio in the national tour of Don Giovanni.

Brian Anderson made his professional debut in 1998 as Cassio in Verdi’s Otello with Rockland Opera, and, in the summer of that year, appeared as an apprentice artist with Santa Fe Opera. Anderson participated in the prestigious 2000 MacAllister Awards competition and was a finalist in the 2002 Eleanor Lieber Competition at Portland Opera.

Upon graduating with a BFA in Theatre Arts from Boston University, the Massachusetts native moved to New York to attend the Mannes College of Music, where he sang Tebaldo in Bellini’s I Capuleti e i Montecchi. He continues to study voice in New York with Arthur Levy.

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Audio


Suggested Operatic Repertoire


AdamoLittle WomenLaurie
BelliniI Capuleti e I MontechiTabaldo
BeethovenFidelioJacquino
BennettThe Mines of SulphurFenney
BizetLes Pecheurs de PerlesNadir
BrittenAlbert HerringAlbert Herring
BrittenPaul BunyanJohnny Inkslinger
DonizettiDon PasqualeErnesto
DonizettiL'Elisir d'amoreNemorino
DonizettiLa fille du RegimentTonio
GounodRomeo et JulietteRomeo
HandelSemeleJupiter
MozartCosi fan tutteFerrando
MozartDon GiovanniDon Ottavio
MozartDie Entführung aued dem SerailBelmonte/Pedrillo
MozartLa finta giardinieraBelfiore
MozartDie ZauberflöteTamino
RossiniIl barbiere di SivigliaAlmaviva
RossiniLa cenerentolaRamiro
RossiniL'italiana in AlgeriLindoro
RossiniIl Signor BruschinoFlorville
Strauss, J.Die FledermausAlfred/Eisenstein
StravinskyThe Rake's ProgressTom Rakewell
VerdiFalstaffFenton
VerdiOtelloCassio

Review Excerpts


Florida Grand Opera – Die Entfuhrung aus dem Serail
“Brian Anderson has been a bright spot in the company’s uneven Mozart outings and his Belmonte provided the most consistent vocal success. From his refined opening aria Hier soll ich dich denn sehen, the tenor’s plangent tone and idiomatic singing was a pleasure: Anderson spun a long line in lyrical arias, was nimble in the bravura writing, and showed a deft comedic touch.”
Miami Herald, November 15, 2006

“Brian Anderson’s previous roles for FGO have included Tamino, Paul Bunyan’s Johnny Inkslinger and Lucia’s Arturo; Belmonte may be the tenor’s finest work here to date. The Act II rondo was all that Mozart intended, with especially smooth delivery.”
Opera News, January 2006

Florida Grand Opera – Lucia di Lammermoor
“In Arturo’s brief cavatina Brian Anderson’s dulcet tones and aristocratic phrasing revealed a promising lyric tenor.”
Miami Herald, March 24, 2005

“Brian Anderson’s vibrant tenor made Arturo more than a cipher.”
Sun-Sentinel, March 22, 2005

Florida Grand Opera – Die Zauberflote
“… the company fielded a cast of superb Mozartians. As Tamino, Brian Anderson made a handsome and forthright prince… Anderson’s singing was consistently elegant and expressive, with the tenor floating an ardent and refined ‘Dies Bildnis.'”
Sun-Sentinel, February 14, 2005

Florida Grand Opera – Paul Bunyan
“FGO gathered a strong cast for its ensemble. Brian Anderson brought a dignified, confident manner to Johnny Inkslinger, Bunyan’s reluctant bookkeeper, with a clean, even tenore di grazia.”
Opera News, March 2005

“As the skeptical accountant, Johnny Inkslinger, tenor Brian Anderson brought an understated realism to his character and the right light style for his lonely ode.”
Sun-Sentinel, January 14, 2005

“Brian Anderson’s Inkslinger, who bore the introspective burden — in a differently structured work he’d be the lead — was properly lyrical.”
Miami Herald, January 11, 2005

Glimmerglass Opera – The Mines of Sulphur
“… and the clarion tenor Brian Anderson as her fellow phantom, Fenney, were also impressive…”
The New York Times, August 4, 2004

American Symphony Orchestra – Liszt: Missa solemnis
“The performances, by the four soloists — Elizabeth Keusch, soprano; Jessie Hinkle, mezzo-soprano; Brian Anderson, tenor; and Kevin Burdette, bass — were solid and polished, particularly in the Liszt”
New York Times, June 11, 2004

Florida Grand Opera – Romeo et Juliette
“The Tybalt, Brian Anderson, boasted idiomatic French style and the sort of light, attractive tenor that made one wish to hear him in bigger roles.”
The Miami Herald, February 14, 2004

“It’s unfortunate that Mercutio and Tybalt are killed in Act II, since the street scene provided the liveliest moment of the evening… With Brian Anderson as an equally fiery Tybalt, the duel scene was thrilling, suddenly making the ancient hatreds of the Capulets and Montagues starkly present and chillingly real.”
Sun-Sentinel, February 14, 2004

New York City Opera – La finta giardiniera
“Brian Anderson (City Opera debut) sang a smoothly tenorial Belfiore.”
Opera News, January, 2004

Florida Grand Opera – La finta giardiniera
“Brian Anderson was a game Belfiore, showing a fine Mozart voice.”
Sun-Sentinel, February 15, 2003