Title role Don Giovanni / Canadian Opera Company
Cond. Michael Hofstetter / Dir. Dmitri Tcherniakov
“Russell Braun is there to sing and act him to perfection and even though most of the time his self-indulgent debauched countenance looks as though his last name were Crowe, his voice is a million times better… At the centre of it all is Braun, playing an addict to sex and booze and self who is rapidly plunging towards hell. He throws himself into this interpretation so completely that all you can do is hold your breath during it and cheer wildly when it’s over.”
Richard Ouzounian, Toronto Star, January 2015
“Russell Braun is brilliant in his portrayal of this exhausted Don, weaving around the stage in his undershirt for all of Act 2, the Brando of Streetcar turned into the Brando of Last Tango, drugged, defeated, but still defiant. Braun's realization of two of the Don's very few arias were beautifully portrayed – a slowed down recitative leading into the most sadly seductive La ci darem la mano I've heard in a long time, and an equally sad, nostalgic, Serenade in Act 2.”
Robert Harris, Globe and Mail, January 2015
“Russell Braun continues to captivate with the COC, a winning streak going back over several productions. The voice is sometimes delicate as in his Act II serenade, sometimes powerful, as in the finale to Act I. Everything Tcherniakov is doing with the Don seems to work for Braun, whether he’s at the centre of our focus or simply lurking in the shadows.”
Leslie Barcza, Barczablog, January 2015
“It’s Giovanni, though, who brings Tcherniakov’s idea to life. Braun adds to his many fine performances this complex portrait of an addict who can’t help but attract women even when it gives him little pleasure. Shifting from introspective melancholy to forced, manic outbursts of joy, humour and conviviality, his arch-seducer is a desperate, weary, angst-ridden man who’s searching for something, and it’s not necessarily bedding every woman he meets.”
Jon Kaplan, Now Magazine, January 2015
“The star of this evening's performance is, without doubt, Russell Braun. Braun's Don is a ravaged shadow, lost within his own psychosis, and deeply conscious of his own malignance. When Braun seduces the sweet, young Zerlina, he sings almost in her direction, never really making eye contact with her. The moment is terrifying, as you realize that the Don really is a psychopath caressing an inward craving.”
Aparna Halpé, Plays to See, January 2015
Fauré Requiem / Calgary Philharmonic
Cond. Roberto Minczuk
“baritone Russell Braun contributed tastefully sung, elegant solos that gave a broader dimension to the performance.”
Kenneth DeLong, Calgary Herald, November 2014
Ford Falstaff / Canadian Opera Company / Four Seasons Centre
Cond. Johannes Debus / dir. Robert Carson
"... baritone Russel Braun gave a thrillingly sung 'E sogno o realta'."
Joseph So, La Scene Musicale, October 2014
"... Russel Braun's Ford, believably huffing and puffing but doing so in fine voice. The Act 2 meeting of Falstaff and Ford (the latter disguised as a suitor to his own wife) was not only a hilarious comic routine but a handsome sampler of bass-to-baritone sonority."
Arthur Kaptainis, National Post, October 2014
“But one must single out… Russell Braun for bringing a welcome touch of John Cleese to Master Ford”
Richard Ouzounian, Toronto Star, October 2014
Offenbach Fantasio [CD: Opera Rara: ORC51 2014]
Orchestra of the Age of Enlightenment / Cond. Mark Elder
"The remainder of the cast have a relatively smaller role to play, though Opera Rara has some superb casting. Russel Braun and Robert Murray make a wonderful pair as the Prince of Mantua and his aide-de-camp with a duo in which they swap clothes, which is Offenbach at his operetta sparkiest. Braun manages to be touching and musically stylish in the Prince's Strophes in Act Two..."
Robert Hugill, five stars, Planet Hugill, September 2014
Recital at Rolston Recital Hall
Pianist: Carolyn Maule
“Filled beyond the brim with an overflowing reservoir of outstanding musical reading coupled to every word of text, each of which was endowed with permeating meaning.
His expressive range was awe-inspiring.
Mr. Braun and Ms. Maule materialized profoundly touching moments that could tear your heart out.”
Stephan Bonfield, Calgary Herald, August 2014
Baritone "From Dawn 'til Dusk": 150 Years of Canadian and American Song / Ottawa:
Chamber Music Festival, St. Brigid's Centre for the Arts
“Baritone Russell Braun and soprano Monica Whicher sang an especially pleasing selection of French songs accompanied by Carolyn Maule and, in one case, by cellist Roman Borys as well. Each had its own special beauty. Braun’s account of Massenet’s Chanson a boire was nice and rousing as was the Saint-Saens duet El Desdichado which featured some fancy two-voice melisma.”
Richard Todd, Ottowa Citizen, July 2014
Nottingham Roberto Devereux / Canadian Opera Company
Cond. Corrado Rovaris Dir. Stephen Lawless
“Baritone Russell Braun is such a fine actor that he managed to establish the Duke of Nottingham as an emotional tinderbox beneath his initially innocuous exchanges with Sara and his fervent defense of Devereux. It was therefore no surprise, when Nottingham found the scarf Sara had embroidered for Devereux, that his stunned reaction should turn into the unstoppable rage that was so frightening in his Act III scene with Sara. Though he was able to chill the natural warmth of his voice, Braun added a plaintive note to Nottingham’s fiercest scenes with Sara and Devereux that expressed the depth of suffering beneath his anger.”
Christopher Hoile, Opera News, July 2014
“Such smart design, together with the intense, highly watchable chemistry of mezzo-soprano McHardy and baritone Braun, whispers of divided loyalties and unspoken grudges within the union. The Act III scene between the two is particularly unsettling, ending in an implied filial rape made all the more visceral for Braun’s outburst of rage matched only by the intensity of his chocolatey tone; the Canadian baritone channels outrage, hurt, and an ugly kind of chauvinism that comes across as clearly in his actions as it does in his vocal lines.”
Catherine Kustanczy, Bachtrack, April 2014
“On the male side, Russell Braun as Nottingham… [was] technically proficient and generated richness and warmth.”
Christina Strynatka, Examiner, May 2014
“…a fabulous Nottingham he is! He combines powerful vocalism with dramatic intensity - the confrontation scene with Sara (Allyson McHardy) is frightening. His Count di Luna was equally scary, come to think of it!”
Joseph So, La Scena Musicale, May 2014
“Braun, his baritone at the peak of its powers, makes Nottingham’s descent from concerned statesman to suspicious husband palpable.”
Glenn Sumi, NOW Toronto, April 2014
“The always impeccable Russell Braun took the dangerously one-dimensional jealous ravings of the Duke of Nottingham and parlayed them into a moving portrait of a man driven mad by his suspicions.”
Richard Ouzounian, The Star, April 2014
“Braun also let the drama of his role empower his performance, especially in those scenes with his wife when the full extent of her betrayal seeps into his consciousness. Like Radvanovsky, Braun was at his best when he made you forget the vocal calisthenics involved in his performance, and forced you to concentrate on the passion within.”
Robert Harris, Globe and Mail, April 2014
Valentin Faust / Metropolitan Opera / DVD: Decca
“[Russell Braun’s] Valentin is well-sung, well-acted, and memorable.”
Robert Levine, Classics Today, April 2014
Troïl Le Vaisseau Fantôme / CD: Naïve
Cond. Marc Minkowski
“The cast sings with conviction, notably Russell Braun’s passionate ‘Dutchman’.”
Michael Scott Rohan, BBC Music Magazine online, April 2014
“Russell Braun’s lighter baritone sings nobly in duet”
Mark Pullinger, Opera Britannia, February 2014
“Russell Braun’s Troïl is a model of style and elegance.”
Francis Muzzu, Opera Now, February 2014
Die Winterreise / Wyatt Recital Series
Pianist: Carolyn Maule
“The words were strongly coloured, the vocal line was inflected with great variety, and the singing powerful and emotional…Braun was very compelling to listen to and watch. Presenting each song as a type of mini-aria, the listener was taken deep into the serious core of the work, the story becoming darker and darker, until madness is reached in the final songs.
As a singer, Braun has a naturally attractive voice, but he is also prepared to take vocal risks in the interests of the musical expression, taking some of the awkwardly placed high notes very lightly, or, if the emotion was stronger, pressing his voice to achieve a maximum of dramatic effect. [He had] impeccable German and clear enunciation.
Some of the more familiar numbers, such as ‘Erstarrung’, ‘Der Lindenbaum’, ‘Fruhlingstraum’, and ‘Die Post’ were truly magical in their emotional and vocal projection. And one could only admire the inexorable, dark quality of the final few numbers.
…The Leacock Theatre was almost full, and the extended applause both heartfelt and genuine — a deserved response for a performance of high artistic finish, commitment, and skill.”
Kenneth Delong, Montreal Gazette, January 2014
Recording review: Troil / Pierre-Louis Dietsch Le Vaisseau fantôme ou Le Maudit des mers / Les Musiciens du Louvre Grenoble and Estonian Philharmonic Chamber Choir
Cond. Marc Minkowski
“The Vaisseau cast is consistently convincing: Russell Braun lends to the Dutchman, who is melancholic in Dietsch’s opera, his cavalier baritone.”
“Durchweg überzeugend präsentiert sich die «Vaisseau»-Besetzung: Russell Braun leiht dem Holländer, der bei Dietsch ein Melancholiker ist, seinen Kavaliersbariton.”
Kultiversum, December 2013
Messiah / Toronto Symphony Orchestra
Cond. Christopher Warren-Green
“Here, the TSO struck gold, with…the expressive sweep of Toronto baritone Russell Braun (a last-minute stand-in for an ailing John Relyea).”
John Terauds, The Star, December 2013
“The two Canadians – tenor John Tessier and baritone Russell Braun, a replacement for John Relyea, who is ill – sang with grace as well as conviction. Braun outdid himself with some vocal pyrotechnics to match the brass soloist’s in The Trumpet Shall Sound near the end.”
John Terauds, Musical Toronto, December 2013
Le Prince / Fantasio / Opera Rara
Cond. Mark Elder
“Russell Braun effectively combined his high baritone voice and strong comic sense in the role of the Prince of Mantua.”
John-Pierre Joyce, Music OMH, December 2013
“Russell Braun was a vocally muscular Prince.”
Hilary Finch, Times, December 2013
“There was some expressive singing from Russell Braun’s indignant Prince.”
Jim Pritchard, Seen and Heard International, December 2013
“The real vocal honours belonged to Brenda Rae's spectacularly sung Elsbeth and Russell Braun's Prince of Mantua, touchingly revealing the man's essential loneliness beneath his waspish facade.”
Tim Ashley, Guardian, December 2013
Britten War Requiem / RSNO
Cond. Peter Oundjian
“I wept openly throughout the exchanges of our soldiers for the night, tenor Jeffrey Francis and baritone Russell Braun, which were sung as one and completely broke me up.”
Michael Tumelty, Herald, November 2013
Britten War Requiem / CBSO / St. Paul's Cathedral
Cond. Ed Gardner
“Russell Braun's rich, velvety baritone was an inspired choice: his ‘Be slowly lifted up’ was forcefully dark, yet he revealed a greater intensity in the pared-back ‘Strange Meeting’, in which he, the German soldier, sings to Spence, the British Tommy, ‘I am the enemy you killed, my friend’. The decidedly more peaceful duet ‘Let us sleep now’/In paradisum was sung by Spence and Braun with sincere feeling, their imitative lines reflecting Britten's stance that no side was better than another in this bloody war. “
One Stop Arts, July 2013
“Russell Braun brought quiet solidity to the baritone part.”
Financial Times, June 2013
“It was the first time I’ve heard the Canadian baritone Russell Braun, and it’s clear what all the fuss is about. His voice caresses and stirs, and he searched out the nuances Britten loads into the Owen poems with exceptional insight…he got to the heart of the music and poetry with an unforgettable mix of unmannered ease and profound modesty.
Braun just got better and better, from the hushed distraction of ‘Bugles sang’ to the bleak power of ‘Be slowly lifted up’”.
Classical Source, June 2013
Chou En-lai Nixon in China / DVD, Nonesuch
Dir. Peter Sellers (New York, 2011)
“Janis Kelly is a superb Pat Nixon, Russell Braun a noble Chou En-lai.”
Anna Picard, Classical Music, June 2013
Recital: James Ehnes (violin) and Russell Braun
Women’s Musical Club of Toronto / Koerner Hall
“Braun came bearing humanity and warmth — starting with his lovely burnished baritone and embroidered by his tremendous ability to wring maximum expression and an overriding sense of genuineness out of everything he sang.”
“…Braun’s rendition of the six songs in Beethoven’s An die ferne Geliebte (To a Distant Beloved) cycle was impeccable, as were his selections of different settings of poetry by A.E. Housman…”
John Terauds, Musical Toronto, May 2013
“…superstar baritone Russell Braun… the results were nothing short of spectacular.”
“…he was more than up to the challenge. A dramatic, tortured performer, sensitive and heroic by turns, Braun turned his beautiful baritone to best effect, perhaps, in a song cycle written especially for this concert by Canadian composer John Estacio.”
“… Braun plumbed all the emotion in these quite dramatic, almost operatic love songs, to texts by playwright John Murrell, Sondheimesque in places, providing a wonderful canvas for Braun’s emotional range.”
“…Beethoven’s An die Ferne Geliebte... in which Braun displayed both the beauty of his voice and the subtlety of his interpretive skills.”
“… this was primarily Braun’s show, as he focused in very deliberately on the bittersweet quality of these tales of love won, and lost; youth betrayed; ideals dissipated. His command of tone, dynamics and sound was impeccable throughout.”
“James Ehnes and Russell Braun left us in little doubt on Thursday afternoon about the source of their fame. They are both musicians of the first rank.”
Robert Harris, The Globe and Mail, May 2013
Recital: Schubert Winterreise / Kennedy Center’s Terrace Theater
Vocal Arts Society, Washington / acc. Carolyn Maule
“At the conclusion of Schubert’s well-known song cycle “Winterreise” (Winter Journey), Canadian baritone Russell Braun and piano accompanist, wife Carolyn Maule, for a moment stunned their audience into total silence, delaying applause.
Braun and Maule further intensified Schubert’s introspective settings into a statement of operatic magnitude.
Braun’s array of dynamic shadings matched the many kinetic implications in the poem. Besides the ceaseless wanderer image, the poet constantly refers to straying, hurrying or searching. Braun often adjusted vocal timbres and tempos dramatically from word to word. All the feelings were further expanded by the singer’s gestures ranging from small introspective movements to arms outstretched and head lowered in desperation. That is, Braun actually became the forlorn wanderer in a drama needing no sets or props”.
Cecelia Porter, The Washington Post, November 2012
Conte di Luna in Verdi Il Trovatore
Canadian Opera Company / Four Seasons Centre for the Performing Arts / cond. Marco Guidarini / dir. Charles Roubaud
"Debuting as the Conte di Luna, Russell Braun exhibited a superlative vocalism and an air of sensitivity that did not leave anyone indifferent. Every aria was an absolute delight for the ears. Vocally, the homogeneity of his beautiful timbre and refined technique – delivering every line and nuance with control and intent – earned him one of the biggest ovations of the night as the curtain fell”.
“También debutando la parte del Conde de Luna, Russell Braun exhibió una vocalidad superlativa y una sensibilidad a flor de piel que no dejó indiferente a nadie. El barítono canadiense hizo de cada una de sus intervenciones un absoluto deleite para los oídos. Vocalmente, la homogeneidad de su bello timbre, la depurada técnica con la cual controló toda su línea de canto y los matices con los cuales fue forjando la intencionalidad de su decir le valieron una de las mayores ovaciones de la noche una vez caído el telón”.
Horacio Tomalino, Mundoclasico.com, November 2012
“Canadian baritone Russell Braun commands the stage as the Conte di Luna with great vocal control and strength.”
Erin Lucuik, Paid Magazine
, October 2012
“[A]lthough it’s impossible with a cast of this calibre to single out a favourite, Canadian Russell Braun’s Conte di Luna was a bit of perfection. Braun not only sang his part with an effortless stream of perfectly modulated sound, he worked hard to try and turn di Luna from something of a cardboard character into a real personality whose obsessional motivations, of both love and revenge, had meaning.”
Robert Harris, The Globe and Mail, October 2012
“The other piece of big news was Canadian baritone Russell Braun in his first ever Verdi role, as Conte di Luna. Braun sang with his trademark mellifluous tone and musicality, and he acted the villain with conviction.”
Joseph So, La Scena Musicale, October 2012
“Russell Braun’s di Luna is well defined from the moment he steps onstage. [...] Capturing the character’s driven, uncompromising nature, Braun offers the opera’s one consistent performance.”
Jon Kaplan, Now Magazine, September 2012
Elijah / Washington National Symphony
“…Russell Braun’s crisp and authoritative baritone to carry, quite masterfully, the variety of characters and parts that Mendelssohn meticulously wove into his score. Mr. Braun, in particular, fielding the substantial role of Elijah, proved a standout during the performance.”
Terry Ponick, The Washington Times, April 2012
“Elijah is the baritone’s show, though, and special honors go to Russell Braun, in the title role, who worked hard all night… he had all the notes… and drew out each emotion with taste and skill. “Es ist genug!,” with Braun duetting with principal cellist David Hardy, was wonderfully anguished.”
Robert Battet, The Washington Post, April 2012
Valentin in Gounod Faust / The Metropolitan Opera
cond. Yannick Nézet-Séguin / prod. Des McAnuff
“The German baritone Russell Braun gave us a vocally strong Valentin and provided the right tension as he cursed his errant sister with his dying breath.”
Marlies Wolf, New Rochelle Patch, January 2012
“Russell Braun’s beautifully warm baritone is a stunning Valentine."
Jens Runnberg, Dalarnas Tidningar, December 2011
“Russell Braun was properly aggressive as Valentin; his baritone had a soldierly roughness rather than lyricism, and his duel to the death with Faust was elegantly executed.”
Heidi Waleson, The Wall Street Journal, December 2011
“Russell Braun is a winning, firm-voiced Valentin.”
Eric Myers, Variety, November 2011
“Russell Braun brought a smooth baritone to the role of Valentin.”
Corinna da Fonseca-Wollheim, Classical Review, November 2011
“Pretty singing from baritone Russell Braun as Marguerite’s brother Valentin won a warm ovation.”
James Jorden, New York Post, November 2011
“Russell Braun sings with soldierly force.”
Howard Kissel, The Huffington Post, November 2011
“As the unforgiving Valentin, baritone Russell Braun sang with fervor (…)”
Mike Silverman, Daily Reporter, November 2011
Orestes in Gluck Iphigenia in Tauris
Canadian Opera Company / Four Seasons Centre for the Performing Arts
cond. Pablo Heras-Casado / dir. Robert Carsen
“Add to this the sublime Susan Graham as Iphigenia, with Russell Braun and Joseph Kaiser offering spectacular support and you have a night to remember.”
Richard Ouzounian, The star.com, October 2011
“Baritone Russell Braun (Oreste) and tenor Joseph Kaiser (Pylade) were both convincing as the castaway pals who would rather perish than see the other come to harm.”
Arthur Kaptainis, National Post, September 2011
“As the impassioned Orestes, Russell Braun throws himself emotionally and physically into the role. Joseph Kaiser’s and Russell Braun’s sequential arias in the first half – Orestes explosive, Pylades calming – are beautifully linked; the two characters end up back to back, two halves of a whole. We feel the powerful love in this relationship, though it has none of the homoeroticism captured in the Opera Atelier staging of the opera.”
Jon Kaplan, NOW, September 2011
“Russell Braun brings all the driven passion of Orestes to life.”
Richard Ouzounian, thestar.com, September 2011
Recital of Schubert Die Winterreise
University of Toronto
“Braun’s performance was beyond criticism. Singing from the score – although he didn’t seem to need it much – he delivered a heartfelt performance, glowing with the rich, velvety tone that he’s famous for.”
Colin Eatock, The Globe and Mail, April 2011
“Braun was a master at navigating the shifting moods on a larger scale, as well as in crafting each individual note, syllable and phrase. The singer made it sound easy, but, in fact, what Braun did would have demanded every ounce of breath, vocal and emotional control at his command.”
John Terrauds, Toronto.com, April 2011
Olivier in Strauss Capriccio
Metropolitan Opera / cond. Andrew Davis / dir. John Cox
"…baritone Russell Braun sings handsomely as Flamand’s more urbane rival Olivier."
Mike Silverman, Associated Press, March 2011
Chou-en Lai in John Adams Nixon in China
The Metropolitan Opera / cond. John Adams / dir. Peter Sellars
“Russell Braun’s Chou En-lai projects vision and intelligence in his voice but shows the world a stern, stone face – except when in pain since, as we know, he had untreated pancreatic cancer.”
David Patrick Stearns, RB Gramophone Magazine, March 2013
“The role is sung by the fine, sonorous, dignified baritone Russell Braun."
Smazey, Ottowa Citizen
, February 2011
“The stentorian lines given to Russell Braun as Chou En-Lai and the way they were delivered, I considered the highlight of the opera”
Marlies Wolf, White Plain Patch, February 2011
“Baritone Russell Braun played his role with a good balance of stoicism and perspicacity, adding weight to his words of reflection at the end of the opera.”
David Abrams, www.musicalcriticism.com, February 2011
“Time, then, for the role to pass to a new baritone - and who better than Russell Braun, the one fresh revelation in the cast, catching all the dignity and honour of Chou En-lai in his big banquet speech and all the pathos of his final post-mortem…yielding to tentative hope as the exquisite solo strings of the superb Met Orchestra did the best of all possible jobs on their rising figures at the end.”
David Nice, www.theartsdesk.com, February 2011
“Russell Braun as the pensive Chou En-lai had the most beautiful voice and was particularly effective in ‘I am old and I cannot sleep’, the stirring and touching aria which concludes the opera.”
Susan Stempleski, www.classicalsource.com, February 2011
"Russell Braun makes Chou en Lai the soul of the opera. Chou en Lai is the only character who doesn’t come across as parody, and the one presented with the fiercest intellect. In the banquet scene, which takes place on February 22, he is the only one who gets Pat Nixon’s reference to Washington’s birthday."
Susan Hall, BerkshireFineArts.com, February 2011
"As Chou En-lai, who sings the final line about where in the balance their decisions will hang, among other cool-headed proclamations, Russell Braun was a strong grounding presence with a smooth baritone."
Ronnie Reich, nj.com, February 2011
"Janis Kelly complemented him as a sympathetic Pat Nixon. Robert Brubaker blustered heroically as Mao, Richard Paul Fink bumbled deftly as Kissinger and Russell Braun exuded mysterious dignity as Chou En-lai."
Martin Bernheimer, Financial Times, February 2011
"In "I am the wife of Mao Tse-tung," Kim brashly uses her coloratura to make Madame Mao the steamroller she evidently was; Robert Brubaker has a field day as an infirm Chairman Mao who turns red-hot on his third-act bed of lust; Fink not only offers a blustery Kissinger but does double-duty in Morris' brilliant ballet, where he even dances as a whip-cracking Chinese equivalent to Simon Legree; and Braun's ailing Chou En-lai is especially stentorian and sweet by turns."
David Finkle, TheaterMANIA, February 2011
"Robert Brubaker lends a wicked glint to the surprisingly mischievous Mao, and Russell Braun fully conveys the dark secrets and unspoken yearnings of the grave Chou."
David Sheward, Back Stage, February 2011
"When he gives us lyrical flights, he does it beautifully, as in the thoughts of Chou En-lai — as the opera renders the name, which is now usually transliterated as Zhou Enlai — during the opera’s deeply affecting final moments. The role is sung by the fine, sonorous, dignified baritone Russell Braun."
Anthony Thommasini, Hong Kong Economic Journal Blog, February 2011
"The most outstanding performance was that of Russell Braun’s Chou En-lai, his luminous baritone inflecting the figure of the Chinese premier with humanity and flashes of moral self-awareness. Braun has a way of digging for the emotional core of every phrase he sings, as well as the flexibility to move fluidly between different expressive registers."
Corinna da Fonseca-Wolheim, The Classic Review, February 2011
"Best of all the men was baritone Russell Braun as a soulful Premier Chou En-lai. He gets the opera's final words in a solo that asks, "How much of what we did was good?""
WWLTV (AP), February 2011
Mercutio in Gounod Romeo et Juliette
“Russell Braun is the feisty friend of Romeo, Mercutio, and he brings an excellent baritone into play”
Friedeon Rosén, Der Neue Merker, August 2010
Lescaut in Massenet Manon
Royal Opera House / cond. Antonio Pappano / dir. Laurent Pelly
“Russell Braun is superb as a creepily attractive Lescaut”
Tim Ashley, The Guardian, June 2010
“Russell Braun made his mark as Lescaut”
Richard Fairman, Financial Times, June 2010
Schubert Die Winterreise
Clarke Foundation Theatre, Mission, British Colombia
“With one of the world’s most beautiful voices, Canadian baritone Russell Braun is fast becoming a legend among opera singers. His dramatic performances have been described as thrilling, manic, glorious, superbly sung and malevolently acted, rich, powerful, elegant, soft-grained, and spine-tingling.”
Graham Yates, BC Local News, March 2010
Count Almaviva in Mozart The Marriage of Figaro
Canadian Opera Company / cond. Julia Jones / dir. Guillaume Bernardi
“This is a production that affords Toronto audiences a night with an established national treasure such as baritone Russell Braun … Braun, for his part, has all the makings of a wonderful Count Almaviva, the amoral villain of the piece, save for the fact that he simply can't disguise the fact he's a whole lot smarter than the conceited popinjay he's forced to play.”
John Coulbourn, Toronto Sun, October 2007
“Braun tends to dominate the action not just because of his strong baritone but because his Count is more than a simple tyrant or buffoon. He shows us a man who learns through experience that the world no longer runs the way he thinks it does.”
Christopher Hoile, Eye Weekly, October 2007
“Baritone Russell Braun (Count Almaviva) was almost the only one to find a sustained character arc, culminating in an Act 3 soliloquy in which the outwardly self-assured aristocrat revealed the lonely little man hiding inside.”
Robert Everett-Green, The Globe and Mail, October 2007
“Braun, the stage veteran of this cast, offered up a fine voice and an assured dramatic air as the philandering Count.”
John Terauds, Toronto Star, October 2007
Valentin in Gounod Faust
Royal Opera House, Covent Garden /cond. Antonio Pappano / dir. David McVicar
"A tremendous debut from Canadian baritone Russell Braun as Valentin - a glorious performance in terms of vocal beauty and expressive intensity."
The Guardian, September 2006
"Russell Braun won special cheers for his poetic Valentin."
Evening Standard, September 2006
"Russell Braun, making an overdue Covent Garden debut, is a sterling Valentin."
Daily Telegraph, 18 September 2006
"Russell Braun was a noble Valentin."
Opera Magazine, November 2006
Orestes in Gluck Iphigénie en Tauride
L’ Opéra de Paris
"Russell Braun portrays an Oreste of great distinction."
Le Monde, June 2006
"Russell Braun, who portrayed Oreste...was also remarkable."
Le Figaro, June 2006
Schubert Winterreise (CBC Records MVCD 1171)
"One is struck first by the sheer beauty of his voice; it has much the same warmth and honeyed sheen of Fischer-Dieskau's but with a darker and more burnished sound. He sings with a great suppleness and a gorgeous legato that produces a superb caressing of the words. Braun has glowing top notes and an even timbre across the two octaves of these songs. He employs a greater range of contrasting dynamics than any of the singers on the 18 recordings I compared."
American Record Guide, March/April 2006
"...a mellifluous, musical and strongly felt interpretation... His finely honed instrument is placed higher than his father's, with an almost tenorish ease on top, but the substantial low notes audible in "Gefror'ne Tränen" (for one) show that he, too, may eventually sing roles such as Golaud. ... Braun's unpretentiously moving singing is supported with articulate sensitivity and fine, clear tone by pianist Maule."
Opera News, January 2006
"Russell Braun may be better known as an opera singer, but over the last few years, he's blossomed into a great lieder and recital singer, too. Here, in Die Winterreise, he convincingly captures the despair, loneliness and frustration of the young, jilted lover, without ever over-sentimentalizing. Braun has a wide range of vocal colours from which to draw, and they're used beautifully depending on the circumstance and need. This is a classic and classical account of Die Winterreise."
CBC Sound Advice, 5 stars, December 2005
"This Canadian entry in a crowded Winterreise CD market was a brave undertaking, but the result is superb. The baritone's applications of rubato are sparing, and all the more effective for that reason. He is especially strong when Schubert's vocal line drives wildly over close to two octaves in a single phrase, as happens several times."
WholeNote, December 2005
"Russell Braun's eagerly awaited account is superb in every way, notable for its smooth legato, a consistent and ravishingly beautiful tone throughout the vocal range, clear enunciation and impeccable pitch."
Opera Canada, November/ December 2005
"This is a nicely nuanced interpretation. Braun's voice is richer than Fischer-Dieskau's."
Toronto Star, December, 2005