Washington National Opera — Carmen (2015)

“Hymel is a fast-rising star on opera’s best international stages, and his voice just kept getting better and better throughout the evening. The tenor packs a wallop of reserve, which he unleashed in his arias in the last act of the show to stunning effect, “C’est toi! C’est moi!” and the wrenching finale, with Jose singing over the body of his damnable beloved.”

— DC Theatre Scene

“Hymel has the greatest journey from straitlaced soldier to crazed killer and has the gravitas to pull it off and the pipes too for the “Flower Song” about his endless love and their final duet “C’est toi! C’est Moi!”

— DC Metro Theater Arts

Royal Opera House — Carmen (2015)

“Hymel’s Don José can do anything vocally – lyrical in the first two acts, ever more urgent and searing in Acts 3 and 4 as he reels towards his fate. His high notes are precise and compelling.”

— The Guardian

“Hymel is an excellent Don José: he has vast reserves of power in the voice which enable him to throw his voice at the role and get a lot of expressivity without ever losing control over precise timing or intonation. He was also the only one of our quartet of main singers to produce clear French diction.”

— Bachtrack

Héroïque — Warner Classics (2015)

“Pavarotti, roll over. There’s a new king of the high Cs.…Hymel’s voice is rare these days: a combination of Wagnerian muscle and bel canto refinement, comfortable in the stratospheric register (look out for a couple of C-sharps and one high D on the album), strong enough to soar above a full orchestra and suave enough for sweet-toned love scenes.…This is why we listen to opera!”


“The emergence of a first-rate tenor is always a cause for celebration, but Hymel’s rare gift for singing the French ‘heroic’ repertory—which demands a unique mixture of power, refinement, and technical flexibility in the highest vocal register—makes him doubly valuable.”

— The New Yorker

“Mr. Hymel goes on to demonstrate he is capable of more than just feats of strength, finding romantic desperation in the prison scene from Verdi’s Les Vêpres Siciliennes and tragic dignity in “Inutiles regrets” from Berlioz’ Les Troyens…”

— The New York Observer

“If Hymel had been born a generation earlier we might have had The Four Tenors. That’s how good he is. And while the American may have missed out on that particular mother lode, he’s well on the way to present-day supremacy in the kind of repertoire that Carreras, Domingo and Pavarotti once favoured.”

— Sinfini Music

“If Hymel didn’t exist, as the old adage goes, it would be necessary to invent him … the visceral thrill of hearing a voice with Hymel’s full-bodied heroic ‘ring’ scaling the heights is really quite something (watch the last two minutes or so of the video-trailer and I’m sure you’ll be as open-mouthed as I was!).”

Presto Classical

“It’s hard to imagine that any fan of French repertory will not want this very exciting, unhackneyed CD by Bryan Hymel.”

— Opera

“Bryan Hymel appartient à cette glorieuse lignée de guerriers intrépides, l’aigu imparable, les forces inépuisables.”

— ForumOpera.com 

The Metropolitan Opera — La Bohème (2014)

“One of the Met’s most promising young stars… His phrasing is generous and romantic, and his top B-flats and C’s as brilliant as fireworks. He’s an unusually sympathetic actor, too.”

— The New York Observer

“In his first house appearances as Rodolfo, tenor Bryan Hymel was the biggest draw, and he lived up to expectations with a world-class portrayal of the destitute poet.… His high-lying voice rang out with a smooth edge that enhanced the easy-going amiability of his characterization and his elegant musical phrasing inspired the other Bohemians to moments of delicacy and subtlety one doesn’t often experience in this work.”

— New York Classical Review

“Bryan Hymel has made a great name for himself in recent years at the Met and other high-level opera houses. A passionate Rodolfo… his agonized cry of “Mimì! Mimì!” at the end of Act IV was devastating in both vocal beauty and heart-wrenching pain.”

— Bachtrack

Bayerische Staatsoper – Guillaume Tell (2014)

“Bryan Hymel tackles the murderously high part of Arnold with bravura and brilliance; it is thrilling to hear him.”

— The Financial Times

“American tenor Bryan Hymel was outstanding in the nearly impossible role of Arnold Melchtal… Hymel exhibited an envious sense of lyrical phrasing and no audible strain in the extended upper register.”

— Opera News

Oper Frankfurt – Edgar (2014)

“In the title role, Bryan Hymel shows himself to be a simply ideal Puccini interpreter. From the melancholy patina of Cavaradossi to the heroism of Calaf, he presented his range of expression and combined vocal power with the subtle art of characterization. An exceptional performance.”

— Frankfurter Allgemeine Zeitung

“An abundance of steel and radiance is required by Puccini for the title role, which Bryan Hymel offered in polished overabundance.”

— Allgemeine Zeitung (Rhein-Main)

“The Glamorous American Bryan Hymel was a storybook Italian tenor with infinite dynamism in reserve and an always-controlled, cultivated tone. The Puccinian style has a beautiful future.”

— Frankfurter Rundschau

The Metropolitan Opera – Madama Butterfly (2014)

“Bryan Hymel was vocally assured as the thoughtlessly callous Pinkerton, singing with a robust tenor and ringing top notes.”

The New York Times

“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.”

— The New York Observer

“Bryan Hymel brought an astonishing sound to the role of the American sailor Pinkerton. Bright, clear, huge, this is a high-octane voice capable of taking on some of the most demanding roles in the Italian rep. He nailed every single one of his high notes without a blemish on Thursday, with power to spare.”

— New York Classical Review

Royal Opera House – Les Vêpres Siciliennes (2013)

“Bryan Hymel has a seductive voice with a powerful, easy top. After his successes in the Royal Opera’s recent ‘Robert le Diable’ and ‘Les Troyens,’ he deserves his status as Britain’s go-to tenor for grand opera.”

Bloomberg Business Week

“Bryan Hymel rose to the challenges of the lead tenor role of Henri with aplomb.”

The Evening Standard

“Just about ideal: Bryan Hymel effortlessly navigates the high-lying tenor role…. This is first-rate casting.”

The Telegraph

Elina Garanca and Friends: Music Under the Stars (2013)

“The discovery of the evening…was tenor Bryan Hymel. The young singer has a pleasant, strong voice, which he uses without force and with great musicality. His interpretation of the great aria ‘Di quella pira’ from Verdi’s Il Trovatore was simply gorgeous. We can readily look forward to Hymel’s Pinkerton in Puccini’s Madama Butterfly at the Wiener Staatsoper (April 2014)!”

— Kurier

The Metropolitan Opera – Les Troyens (2012)

“When, close to midnight on Wednesday, the American tenor Bryan Hymel appeared for his curtain call at the end of the Metropolitan Opera’s performance of the Berlioz epic ‘Les Troyens,’ the entire cast lined up onstage and applauded along with the audience during the prolonged ovation. This gesture from the singers seemed not just a welcoming tribute to a young colleague making his Met debut on short notice in the daunting role of Aeneas. The cast members, especially the beaming mezzo-soprano Susan Graham, who was again a vocally sumptuous and alluring Dido, seemed genuinely grateful to Mr. Hymel for saving the day by giving an impassioned and confident performance of a heroic role that dominates this formidable French opera.

“Mr. Hymel’s voice, over all, is dark hued and muscular, with a quick vibrato and earthy texture and quite even throughout its range… Mr. Hymel sang with unflagging stamina and impetuous abandon, capped with some exciting full-voiced top notes. But he was at his best in the tender, high-lying exchanges with Ms. Graham.”

— The New York Times

Opera Company of Philadelphia – La bohème (2012)

“Academy of Vocal Arts grad Bryan Hymel sang the leading tenor role of Rodolfo showing his high notes are easily among the best in the business. The rest of his voice is so attractive, and his presence so winning…”

— The Philadelphia Inquirer

Royal Opera House Covent Garden – Robert le diable (2012)

“Even more impressive was Hymel’s focused attack on the title role… High notes abounded — all firmly taken. It’s a big voice… But here it was used with bravura as well as imagination.”

Opera News

Opera Birmingham – Faust (2011)

“In his first time as Faust, tenor Bryan Hymel sang with tautness, control and confidence.”

— The Birmingham News

Simon Bolivar Orchestra, Caracas, Venezuela – Carmen (2010)

“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 

De Nederlandse Opera – Les Troyens (2010)

“Bryan Hymel gained confidence in Les Troyens á Carthage and gave a heroic ‘Inutiles regrets.’”

— Opera

Royal Opera House, Covent Garden – Carmen (2010) 


“Bryan Hymel’s José is an appealing voice . . . He sings Bizet’s music with a refinement that few tenors manage.”

— The Times


“[Bryan Hymel] rose to the demands of the Flower Song, and he was at his best when it counts most in the final act.”

The Guardian

Canadian Opera Company – Carmen (2010)

“The American tenor Bryan Hymel impressed with his clarion tone and a ringing top.”

—  Opera


“Hymel delivers a powerful portrayal of Don José’s degeneration from dutiful soldier to an outlaw who is gradually consumed by his passion.”

— The Epoch Times


“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.”

Plank Magazine

“[Hymel] soared in the final act, revealing a vulnerable and impassionate Don José at his wits’ end.”

—  La Scena Musicale

“New Orleans tenor Bryan Hymel turned in a passionate and thrillingly sung Don José.”

— The Globe and Mail

“Bryan Hymel has a powerful tenor with a rapid vibrato that suits the French repertoire.”

— Opera News

Canadian Opera Company – Madama Butterfly (2009)

“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.”

— The Toronto Sun