American tenor Bryan Register has received critical acclaim for the fresh, bright timbre of his voice and strong dramatic singing. Recent operatic highlights include Florestan Fidelio at English National Opera, a production directed by Calixto Bieito and conducted by Edward Gardner, the title role in Lohengrin at Savonlinna Opera Festival and his European debut as Drum Major in English National Opera’s critically acclaimed new production of Wozzeck directed by Carrie Cracknell. Highlights this season include Register’s first Tristan Tristan und Isolde for Theater Kiel and the title role in Lohengrin at the Hong Kong Arts Festival.
Recently moving into the Wagner repertoire, Register has most recently been sponsored by the Wagner Society of New York and the ‘Emerging Singers Program’ of the Wagner Society of Washington D.C. Prior to this he was awarded second prize in the 2012 Liederkranz Vocal Competition (Wagner Division), was the winner of the 2008 Gerda Lissner, the 2006 Sullivan Foundation and the Licia Albanese/Puccini competitions and the recipient of a 2006 Grant from the Liederkranz Foundation.
Previous operatic highlights also include Siegmund Die Walküre with the Greenwich Symphony, Erik Der Fliegende Holländer with Opera Roanoke, Arturo Lucia di Lammermoor for San Diego Opera, concert and semi-staged versions of Die Walküre with Opera Roanoke and Opera Birmingham and Don José Carmen for Virginia Opera.
Register trained at the Manhattan School of Music, receiving the Birgit Nilsson Scholarship, before continuing his training at the renowned apprentice programs of The Santa Fe Opera and Glimmerglass Opera. While at Santa Fe he covered the roles of Tassilo Countess Maritza, Andres Wozzeck and Dr Caius Falstaff. He has also sung The Chaplain The Dialogues of the Carmelites and covered the title role of Haydn’s Orlando Paladino at Glimmerglass. Acclaimed for his vocal versatility, he has been engaged for many new or rarely performed works including The Soldier Stone Soup for Tulsa Opera, Second Bandit in the American premiere of Martinu’s Hlas Lesa for Gotham Opera, Sundar The Thief of Love, Announcer and Man Haroun and the Sea of Stories and Manno Sacco and Vanzetti with The New York City Opera Orchestra in its Showcasing American Composers 2000 concerts.
Bryan Register is represented by Intermusica.
January 2014 / 358 words. Not to be altered without permission. Please destroy all previous biographical material.
Title Role Tristan und Isolde / Theater Kiel
Cond. Georg Fritzsch Dir. Daniel Karasek
“The audience celebrated with loud bravos… the Kiel production of Wagner’s Tristan und Isolde comes with extraordinary voices… the public sat spellbound by what was offered in vocal power and might…by Bryan Register…”
Schleswig-Holsteinische Landeszeitung, January 2014
"Both graduated in Kiel with flying colours in their role debuts…in the third act Register especially showed ravishing vocal artistry. As he brought his passion for expression… with model text comprehensibility…"
Lübecker Nachrichten, January 2014
“Tristan debutant Bryan Register… impresses us with… untainted diction, clarity and charming expressiveness…”
Kieler Nachrichten, January 2014
Drum Major in Berg Wozzeck / ENO
cond. Edward Gardner / dir. Carrie Cracknell
“Bryan Register's Drum Major, is spectacularly unpleasant: a swaggering thug with shaven head...”
Kate Kellaway, Guardian, May 2013
“…Brian Register as the ghastly Drum Major… offer[s] sterling support.”
David Mellor, Mail On Sunday, May 2013
“Bryan Register, was equally persuasive as Marie’s boorish seducer.”
Mark Valencia, Classical Source, May 2013
“There are strong, brutalized characterizations … Bryan Register as the Drum Major.”
Robert Tanitch, Mature Times, May 2013
“Bryan Register’s Drum Major oozes brutishness.”
Andrew Clark, Financial Times, May 2013
“Bryan Register makes his mark as the violently macho Drum Major…”
George Hall, The Stage, May 2013
“Major, a tall, large man clothed in military trousers and heavy metal t-shirt, with a voice and swagger to match.”
David Karlin, Bach Track, May 2013
“Cracknell leaves no doubt that the villain of the piece is the Drum Major, played with convincing menace by a mohican-topped Bryan Register. Cracknell reduces the pomp of the character, and turns him into a real thug instead. He is also able to turn on the charm when he is seducing Marie, but his actions are shown to be even more inappropriate as the setting for this scene is a wake set around the coffin of a soldier killed in action.”
Gavin Dixon, Opera Britannia, May 2013
Siegmund Wagner Die Walküre / Greenwich Symphony
cond. Steven White
Tenor Bryan Register joined the orchestra to sing Siegmund … [he was] up to the challenges of this powerful setting and still managed to create a sense of intimacy -- always a sign of accomplishment in this larger-than-life score…. [he] articulated the German with astonishing clarity, and even if one did not understand the language, the context and musical treatment made the narrative perfectly understandable.”
Jeffrey Johnson, Stamford Advocate, March 2013
“Sung and acted superbly by an imposing Bryan Register”
"Register's beautiful dynamics and powerful presence riveted... The audience erupted with bravos for a fine performance... Shouts of bravo, brava and bravi were heard."
Linda Phillips, Greenwich Citizen, March 2013
“The participants of the duet, Bryan Register and Julia Rolwing, both recipients of awards from the Wagner Society of New York, were strong figures, whose warm voices and vital stage instincts were additional pleasures. He sang with fine even tone... They are both singers to watch”.
Craig Knobles, The Wagner Society New York, February 2013
Narrator in Schumann Das Paradies und die Peri
Emmanuel Music / Jesuit Urban Center
“Firm-voiced tenor Bryan Register was an expressive narrator...”
Richard Dyer, Boston Globe, May 2005
Don José in Bizet Carmen / Virginia Opera
“Register has the makings of a fine Don Jose, with a good sense of the placid stolidity of the character, shot through from the start with flashes of violence”
Mark J. Estren, Washington Post
“Unlike several superstars who have essayed the role of Don Jose, tenor Bryan Register’s portrayal was the most dramatically convincing depiction of the corporal’s degeneration into a brutal murderer I have seen in the theater… his timbre was pleasing and his high notes soared up evenly and precisely with a nice ring. His integration of acting and singing was excellent.”
William Thomas Walker, Classical Voice of North Carolina
"Tenor Bryan Register, making his debut both with Virginia Opera and in the role of Carmen’s boy-toy Don Jose, sang with a lyrical tone, warm and connected throughout his range. His French was exceptionally good. The much–anticipated Act II aria, "La fleur que tu m’avais jetée," was sung with deep expressiveness which revealed the disgraced soldier’s unraveling and fatal obsession with Carmen… the scene all the more potent by Carmen’s icy reply: “No you don’t love me."
B. Atkinson, Port Folio Weekly
"As Don Jose, tenor Bryan Register made an excellent impression in his first appearance with the company. I was initially fearful that his tenor would not have sufficient heft for the big dramatic outbursts of the last two acts, but Register not only handled those parts effectively, he also brought a wonderful lyrical quality to his more gentle music. The familiar “Flower Song” was a highlight of the evening, the sheer beauty of Register’s voice expressing his love for Carmen in a touching manner.”
Paul Sayegh, Virginia Pilot
"Register's tenor is clear and strong, and his second-act "Flower Song" is one of the show's musical highlights."
Daniel Neman, Times-Dispatch
Arturo in Donizetti Lucia di Lammermoor / San Diego Opera
cond. Richard Bonynge / dir. Andrew Sinclair
“Combined with a small but convincing turn by the American tenor Bryan Register, made this perhaps the first Lucia where one actually felt that the heroine should have married Lord Arturo…Register fleshed out Arturo, making him seem not only like an oily usuper, but someone who’s just as much of a pawn as Lucia. Most of all, his Arturo seemed quite besotted with Lucia… this emotional connection with one of Cammarano’s characters was an unexpected bonus in an evening of straightforward, tasteful – if uninvigorating – bel canto interpretation.”
James C. Taylor, Opera Magazine
“Register made the most of the role… and easily held his own in the sextet. A tall tenor with a lustrous upper register, he should have a very bright future.”
Maria Nockin, Music & Vision Magazine