LATEST NEWS

Bryan Hymel performs Verdi’s Requiem under the baton of Yannick Nézet-Séguin

HymeOn May 16 and 17, American tenor Bryan Hymel joins the Rotterdam Philharmonic and its music director Yannick Nézet-Séguin for Verdi’s Requiem, a work he sang to acclaim with the Edinburgh International Festival last summer.

Under Maestro Nézet-Séguin’s baton, Bryan is joined by soprano Camilla Nylund, mezzo-soprano Karen Cargill, and bass Mikhail Petrenko. The performances also include the talents of the Collegium Vocale Gent. For ticket information, click here.

Bryan Hymel’s debut solo recording to be released by Warner Classics

Bryan_Hymell-5879-2Bryan Hymel will release his debut solo recording on Warner Classics, as part of an exclusive recording contract with the label. Recorded with the Prague Philharmonia and French conductor Emmanuel Villaume, the album will be released in early 2015 and feature some of the American tenor’s signature heroic arias from the French repertoire.

Warner Classics president Alain Lanceron noted that the label is “delighted to launch our relationship with this accomplished and distinctive artist.” Bryan added, “I am thrilled to be invited to make my debut solo recording with Warner Classics. The legacy of this label includes recordings of some of the greatest artists in history, and I am looking forward to the opportunity to record the repertoire that has brought me to leading theaters around the world.”

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Bryan Hymel makes his Wiener Staatsoper debut in Madama Butterfly

Screen Shot 2014-04-03 at 4.41.53 PMThis month, Bryan Hymel returns to the role of B.F. Pinkerton in Madama Butterfly for his debut at the Wiener Staatsoper. The American tenor stars in Josef Gielen’s production of Puccini’s lush drama April 5, 9, and 14. Hui He appears opposite Bryan as Cio-Cio San and Jonathan Darlington conducts.

Bryan’s recent turn as Pinkerton at the Metropolitan Opera earned the tenor great acclaim. The New York Times noted that he was “vocally assured as the thoughtlessly callous Pinkerton, singing with a robust tenor and ringing top notes.” The New York Observer concurred, writing: “Mr. Hymel walked away with the show. His unorthodox, muscular voice commanded attention from the first conversational phrases, gaining authority as the music became more ardent.… At the end of his ‘Addio’ aria, the audience didn’t even wait for the music to finish before roaring its approval.”

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