Brian Davis baryton
Brian Davis boasts a splendid baritone voice,” writes Richard Dyer in the Boston Globe, and critics across the country agree. He has appeared in leading roles with the opera companies of New York, Chicago, Miami, Dallas, Montréal, Hamburg, Pittsburgh, Detroit, Hannover, Cincinnati, Salt Lake City, Braunschweig, Louisville, Fort Worth, Wolf Trap, Sarasota, Lake George, Central City, Syracuse, Chautauqua, and the Hong Kong Arts Center. In concert, he has been heard with orchestras throughout the United States and Europe.
Mr. Davis will open the 2011-2012 season with a return to Staatsoper Hannover for their new production of LA TRAVIATA as Germont, to his role debut in a new production of THE DEVILS OF LOUDUN (Penderecki) as Grandier, for the new production of IL TRITTICO as Michele and for the companies remounts of GÖTTERDÄMMERUNG as Gunther, FALSTAFF as Ford, LA BOHÈME as Marcello, and in MADAMA BUTTERFLY as Sharpless,
Engagements during the 2010-2011 season included a company debut with the Staatsoper Braunschweig as Pizarro in their production of FIDELIO, a return to the Staatsoper Hannover for their new productions and role debuts for Mr. Davis of Ford in FALSTAFF, as the magician Chélio in Prokofiev’s THE LOVE OF THREE ORANGES as Gunther in GÖTTERDÄMMERUNG, and in remounts of Hannover’s productions of LA BOHÈME as Marcello, Escamillo in CARMEN, as Šiškov (Shishkoff) in Janáček’s Z MRTVÉHO DOMU (FROM THE HOUSE OF THE DEAD), and returning to his company debut role with the Staatsoper Hannover as Iago in OTELLO.
Engagements during the 2009-2010 season included a return to the Staatsoper Hannover in remounts of their productions of FIDELIO as Pizarro, as Escamillo in CARMEN, as Balstrode in PETER GRIMES, a role debut as Donner in a new production of DAS RHEINGOLD, and his role debut in the title role of a new production of MACBETH. Also, Mr. Davis made his company debut with the Staatsoper Hamburg as Roucher in ANDREA CHËNIER. In concert, Mr Davis was heard as the baritone soloist in Orff’s CARMINA BURANA with the Staatsoper Hannover.
Engagements during the 2008-2009 season included a return to the Staatsoper Hannover for their season premiere and role debut as König Pentheus in H.W. Henze’s DIE BASSARIDEN, as Escamillo in CARMEN, a role debut as Sharpless in MADAMA BUTTERFLY, a role debut as Šiškov (Shishkoff) in Janáček’s Z MRTVÉHO DOMU (FROM THE HOUSE OF THE DEAD), and another role debut as Pizarro in FIDELIO.
Engagements during the 2007-08 season included a return to the Staatsoper Hannover in a role debut as Balstrode in a new production of PETER GRIMES, a role debut as Rodrigo in a new production of DON CARLO, as Escamillo in a new production of CARMEN, and as Iago in OTELLO. Mr. Davis was also heard in concert with the Staatsoper Hannover orchestra singing 6 MONOLOGE AUS JEDERMANN by Frank Martin as well as Gellner in Catalani’s LA WALLY which was recorded for CD release in the fall of 2008. Mr. Davis also made his debut with the Teatro Lirico di Cagliari singing the baritone soloist in CARMINA BURANA by Carl Orff.
Engagements during the 2006-07 season included both a role debut and German debut as Iago in a new production of OTELLO with the Staatsoper Hannover; a return to the Metropolitan Opera as Fiorello in a new production of IL BARBIERE DI SIVIGLIA, as Marullo in RIGOLETTO, as the First Priest in the special holiday broadcast English version of THE MAGIC FLUTE and as the Major-Domo in ANDREA CHÉNIER.
Engagements during the 2005-06 season included a return to the Metropolitan Opera as the Second Guard in the season première of MANON starring Renée Fleming, as Morales in CARMEN, as Marullo in RIGOLETTO, as Vicomte de Valvert and the Spanish Official in CYRANO DE BERGERAC, as the Second Philistine in SAMSON ET DALILA, as the Surgeon in LA FORZA DEL DESTINO, and as the Third Noble in LOHENGRIN.
Engagements during the 2004-05 season included a return to the Metropolitan Opera as the Herald in the season première of OTELLO conducted by James Levine, as Morales in CARMEN conducted by Plàcido Domingo, as Yamadori in MADAMA BUTTERFLY, as Count di Lerma in DON CARLO, as Silvano in UN BALLO IN MASCHERA, as Vicomte de Valvert and the Spanish Official in a new production of CYRANO DE BERGERAC; also, a return to Chautauqua Opera as John Proctor in THE CRUCIBLE.
Engagements for Brian Davis during the 2003-04 season included a return to the Metropolitan Opera as Melot in TRISTAN UND ISOLDE, as Second Japanese Envoy in LE ROSSIGNOL, as Third Watchman in DIE FRAU OHNE SCHATTEN, and as a Man in LA JUIVE; Alfio in CAVALLERIA RUSTICANA with Opera Theatre of Saint Louis; Scarpia in TOSCA with Pensacola Opera; and Enrico in LUCIA DI LAMMERMOOR with Connecticut Opera.
Engagements for Brian Davis during the 2002-03 season included a return to the Metropolitan Opera as the Trojan Soldier in a new production of LES TROYENS, Scarpia in TOSCA with Opera Theatre of Saint Louis, and the title role of DON GIOVANNI with Chautauqua Opera; concert engagements during the 2002-03 season included Gellner in Catalani’s LA WALLY with Teatro Grattacielo at Alice Tully Hall.
Engagements during the 2001-02 season included a return to New York City Opera in the title role of a new production of DON GIOVANNI and as Escamillo in CARMEN; the title role of GIANNI SCHICCHI and Tonio in I PAGLIACCI with Knoxville Opera; Scarpia in TOSCA with Dallas Opera for the student matinees; Reverend Blitch in SUSANNAH with Shreveport Opera; Escamillo in CARMEN with both Fort Worth Opera and Kentucky Opera; and Count Almaviva in LE NOZZE DI FIGARO with both Michigan Opera Theatre and El Paso Opera. Concert engagements included Melot in TRISTAN UND ISOLDE with the Chicago Symphony Orchestra under Maestro Daniel Barenboim at both Chicago’s Orchestra Hall and Carnegie Hall.
Engagements during the 2000-01 season included a return to New York City Opera as Germont in LA TRAVIATA and a return to L’Opéra de Montréal as Enrico in LUCIA DI LAMMERMOOR. Other engagements during the 2000-01 season included Ping in TURANDOT with Kentucky Opera, Escamillo in CARMEN with New Hampshire’s Granite State Opera, and Count Almaviva in LE NOZZE DI FIGARO with Abilene Opera. Concert engagements included Melot in TRISTAN UND ISOLDE with the Ravinia Festival under Maestro Daniel Barenboim and the Chicago Symphony Orchestra.
Engagements for Mr. Davis during the 1999-00 season included his Metropolitan Opera debut as Melot in a new production of TRISTAN UND ISOLDE, conducted by Maestro James Levine, starring Ben Heppner and Jane Eaglen (his Metropolitan Opera radio broadcast debut was in the same role on December 18); a New York City Opera debut as Escamillo in CARMEN; Frédéric in LAKMÉ with L’Opéra de Montréal; and Count Almaviva in LE NOZZE DI FIGARO with Montana’s Intermountain Opera.
Other recent engagements include John Sorel in THE CONSUL and Reverend Blitch in SUSANNAH with L’Opéra de Montréal, Ping in TURANDOT with Utah Opera, Tonio in I PAGLIACCI with Anchorage Opera, and the title role of DON GIOVANNI with Belgium’s Alden Biesen Festival and at Amsterdam’s Concertgebouw, the title role of DON GIOVANNI with El Paso Opera, Mathieu in ANDREA CHÉNIER with Atlanta Opera, Scarpia in TOSCA with Syracuse Opera, Baldassarre in Cilèa’s L’ARLESIANA with Sarasota Opera, and the title role of Victor Ullmann’s DER KAISER VON ATLANTIS with Chicago Opera Theater (directed by Rhoda Levine). Concert engagements included MESSIAH with Louisville’s Bach Society and an OPERETTA CONCERT with the Little Orchestra Society of New York at Alice Tully Hall in Lincoln Center.
Additional engagements have included Der Spielmann in Humperdinck’s DIE KÖNIGSKINDER with Sarasota Opera; Marcello in LA BOHÈME with Pittsburgh Opera (“The most impressive vocalism of the evening came from the Marcello, Brian Davis – a big voiced baritone who should be destined for a major career.” Robert Croan, Pittsburgh Post-Gazette); again Marcello in LA BOHÈME with Utah Opera and Syracuse Opera; Ping in TURANDOT with L’Opéra de Montréal and Pittsburgh Opera; and Count Almaviva in LE NOZZE DI FIGARO with Wolf Trap, the Lake George Opera Festival, Opera Roanoke, and Opera Theater of Pittsburgh. Mr. Davis’s first excursion into the bel canto repertoire was as Enrico in LUCIA DI LAMMERMOOR, which he sang with Greater Miami Opera (Florida Grand Opera), Escamillo in CARMEN (Central City); Harlequin in ARIADNE AUF NAXOS and De Brétigny in MANON (Lake George); Melchior in AMAHL AND THE NIGHT VISITORS (Cincinnati); Sam in TROUBLE IN TAHITI (Chautauqua); Count Robinson in IL MATRIMONIO SEGRETO (Wolf Trap); and Hermann, Schlemil, and Crespel in LES CONTES D’HOFFMANN (Hong Kong).
Brian Davis has worked with such conductors as Theo Alcantara, Daniel Barenboim, Wolfgang Bozic, Richard Buckley, Anton Coppola, Enrique Diemecke, Plàcido Domingo, Mark Flint, Hal France, Anton Guadagno, Joe Illick, Cal Stewart Kellogg, James Levine, Lorin Maazel, George Manahan, Stephan Mercurio, John Moriarty, Edoardo Müller, Christof Prick (Perick), Joseph Rescigno, Stewart Robertson, William Fred Scott, and Willie Anthony Waters; and with the stage directors Tito Capobianco, Michael Cavanagh, Francis Cullinan, Dieter Dorn, Bliss Hebert, Matthew Lata, Rhoda Levine, Guy Montavon, Bernard Uzan, Graham Vick, Kay Castaldo Walker, and Francesca Zambello. With Pittsburgh Opera, in addition to Marcello and Ping, he has appeared as Shchelkalov in BORIS GODUNOV, as Saretsky in EUGENE ONEGIN, as Melot in TRISTAN UND ISOLDE, as Monterone in RIGOLETTO, as Silvano in UN BALLO IN MASCHERA, and as Baron Douphol in LA TRAVIATA.
Concert engagements include the SAINT MATTHEW PASSION and MAGNIFICAT of J. S. Bach; Handel’s MESSIAH; Beethoven’s NINTH SYMPHONY, CHORAL FANTASY, and MASS IN C; Brahms’s EIN DEUTSCHES REQUIEM; Haydn’s LORD NELSON MASS; Rossini’s STABAT MATER; the VERDI REQUIEM; Orff’s CARMINA BURANA; Bruckner’s TE DEUM; Britten’s CANTATA MISERICORDIUM; and ELEGIES FOR ROG, a large work written for him by Jeffrey Brody to a text of Paul Monette. A regional finalist in the Metropolitan Opera Auditions, Mr. Davis attended Bowling Green College of Music and the Boston Conservatory of Music.