Brian returns to the Southern Illinois Music Festival to perform his critically acclaimed role, Mario Cavaradossi, in Tosca.
Brian makes his debut with the Newark-Granville Symphony Orchestra in a solo concert of love themed hits from Opera and Musical Theatre.
Brian returns to the Southern Illinois Music Festival to perform the role of Manrico in Verdi’s Il Trovatore.
Brian will be making his Virginia Opera debut in 2020 as Radames in Verdi’s Aida. Directed by Lillian Groag, the cast includes Laquita Mitchell as the title role, Leah Heater, Ashraf Sewailam, and Marco Nistoco. VIRGINIA OPERA
“As Victor Frankenstein, tenor Brian Cheney was the ideal counterpart. He very ably expressed the Victor’s horror, panic and regret over the evil his work has wrought.” OPERA NEWS Jennifer Johnson Cano, Joshua Jeremiah, Brian Cheney BROOKLYN The Angel’s Share | Brooklyn’s Greenwood Cemetery 10/12/18 AS PART OF ITS PERFORMANCE SERIES The Angel’s
Matt Costello – “Sketches From Frankenstein,” Angel’s Share If I simply must select a single performance, above all, then that is actually quite easy: Gregg Kallor’s “Sketches from Frankenstein.” The work in progress, “staged” at Brooklyn’s historic Green-wood Cemetery, inside the catacombs, was both a physical and operatic “experience” unlike any other. The tomb-filled catacomb,
Brian makes his debut with the New Jersey Festival Orchestra singing a Three Tenors themed Holiday Concert.
Gregg Kallor’s world premiere of sketches from his new opera Frankenstein was listed in WQXR’s New York’s Most Memorable Concerts of 2018! Music Under the Ground “What’s the city’s hottest new concert venue? The Green-Wood Cemetery catacombs in Brooklyn — an expansive hallway lined with vaults for the famously dead…in October, Gregg Kallor unveiled Frankenstein, a work-in-progress that’s even more promising than his
Brian returns to Cappella Cantorum to sing the tenor soloist for Puccini's Messa di Gloria and Saint-Saens' Christmas Oratorio.
CLASSICAL VOICE NORTH CAROLINA | Charlotte, NC “I was most impressed overall by Cheney, who excelled in the “Ingemisco” tenor aria. Cheney’s “Requiem aeterna dona eis” was nothing less than sublime, floating ethereally over the hushed chorus, a timeless little capsule that reminded me how live performance can triumphantly transcend any recording.” THE DAILY GAZETTE