CRITICAL ACCLAIM
The New York Sun |
Cheney thrills Audience at Weill Hall - Jerry Hadley Protege Shines
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The Tulsa World |
From Carnegie to 'Candide' - Light Opera role tempts Brian Cheney back to a Tulsa stage
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Classical Voice of North Carolina | As Don Jose
"Tenor Brian Cheney's portrayal of Don José was the most effective dramatic and vocal realization of character in the production.....this excellent singer revealed a voice of amazing power and great beauty.
Cheney was in command of the stage, especially in the many scenes of heated conflict between himself and Carmen, when his big voice overcame Carmen's and made it obvious who would win the argument. He also had a physical presence that was often menacing in his tempestuous scenes with her, especially toward the end of the opera, and clearly foreshadowed the tragic conclusion of all the tensions between the two lovers.
Cheney's booming tenor voice and effective dramatic realization of the passionate Don José soon made him the audience's favorite character. "
The Day | As Edgardo
Though Lucia's mad scene is always the focal point of the opera, it was tenor Cheney who stole the show. With a voice strong yet unforced, he was gripping in the final scene, his voice dripping with heartbreak as he leaned over Lucia's body, gasping again and again “bell'alma inamorata.” Too often this opera's heart-wrenching final pages seem an afterthought; Cheney made them the climax. ...the singular performance by Cheney alone was worth the price of admission.
Times Herald Record |
As Edgardo
Edgardo, rival of Enrico and lover of Lucia, is played by Brian Cheney with robust defiance of the former and unfettered passion for the latter. In Cheney's firm and clear voice, the depth and nobility of the character emerges.
The River Reporter |
As Edgardo
Edgardo was sung brilliantly by tenor Brian Cheney.
The Theater Mirror | As Edgardo
His majestic tenor voice reaches to the top of the scale with every note clear and strong. Brian also acts as well as he sings with his reactions to the other characters… he has a very promising career ahead of him.
The Providence Journal |
As Rodolfo
Charismatic tenor Brian Cheney's Rodolfo was simply phenomenal. His glorious first-act solo aria was the high point of the entire production. Cheney's commanding stage presence, thrilling vocal beauty, and passionate projection called to mind Franco Corelli. Send Cheney up to the big leagues.
The Day |
As Rodolfo
Brian Cheney in the lead role as Rodolfo the poet sang exquisitely, his supple tenor caressing every note, earning Cheney his first extended ovation in the opening scene. His acting was terrific, too, right down to his breaking voice during the heart-rending climax.
Nuevo Miami Herald | As Rodolfo
Cheney fulfilled every aspect of the very demanding role of Rodolfo with outstanding moments.
River Reporter |
As Pinkerton
Brian Cheney, the tenor who sings the role of Pinkerton, reminds me of Metropolitan Opera tenor Jerry Hadley. He has his look and his voice. He surprised me when he took the high-C with Cio-Cio San (most tenors don't) in the incredible duet in the end of Act 1, and he stayed right up there with her. That's the sign of a brave tenor. He sang his role brilliantly in a production full of talented colleagues.
The Times Herald |
As Pinkerton
In the lovers' duets, his robust and cheerful tenor voice also rang with joy. But in the closing episode of tragedy, his character turned remorseful and his voice turned ominous with emotion.
The New London Day | As Alfredo
Cheney conveys great affability in the part of Alfredo, and he appears so relaxed on stage that one hardly feels like he's acting at all. A lyric tenor, his voice floats delicately in the most romantic parts, but he can still conjure up some gusto in the more dynamically demanding songs.
The Sondheim Review | As Candide
The title role was beautifully sung and winningly played by Brian Cheney, a protege of the the late tenor Jerry Hadley, Bernstein's own choice for the title role in the 1989 recording.
Urban Tulsa Weekly | As Candide
Cheney rises to the difficult role of Candide, and masters the challenging music. To hear someone sing like this, with such an appearance of effortlessness, inspires an almost painful relief, like the massage of a knotted muscle.
Tulsa World | As Candide
The role of Candide has been one of Brian Cheney's ambitions for years and he is superb. He sings in an unadorned tone that emphasizes the character's naivete and vulnerability, especially in the songs like It Must Be So and Candide's Lament, where Candide opens his heart and questions the ideas he's long held dear. Make Our Garden Grow was performed with breathtaking power and beauty.
The Advocate | As Prince Karl Franz
But the heart of The Student Prince is the Prince himself, and imagine my delight when I discovered in Brian Cheney a wonderful tenor AND a fine actor! He is handsome in a very Mario Lanza/Tyrone Power/matinee-idol-of-the-1940's kind of way, which is perfect for this role. He sings magnificently, but knows how and when to use a stage voice as opposed to an operatic sound.
The Times Union | As Prince Karl Franz
Brian Cheney is strong as Prince Karl Franz. He acts as well as he sings, which is important in a play about duty, where the boy doesn't get the girl. His wincing goodbye is true. He sings Serenade lustily, Beloved tenderly and he makes I'll Walk With God into a transformational moment worthy of a man who would be king.
The Daily Gazette | As the Tenor Soloist in THE MESSIAH
(The performance) gave newcomer Cheney more time to thrill the crowd with his darkly hued voice, wonderfully sustained tones and exquisitely finished phrases. His entire range was mellifluous, and his passion was palpable.
Albuquerque Journal | As Cortes from LA LLORONA
Cheney effectively projected the image of the conqueror Cortés with a warm, steady voice, exceptional clarity of diction and a strong stage presence that caught the ambivalence between his love and his ambition. (World premier performance.)