Concerto pour violon Richard Wagner : Die Walküre : Acte I

By Laurent Barthel

In a concert rendition, sans music stands, the trio of soloists undertakes their performance entirely from memory, occasionally venturing into limited yet cautious forays into the realm of stagecraft. These singers form a discerning selection of voices, with the emergence of a remarkable Siegmund, namely the American tenor Bryan Register. He possesses a timbre with both substance and radiance, complemented by an unwavering technical prowess. Register’s vocal endowment echoes the stability and valor reminiscent of a James King, giving the audience a genuine auditory treat, coupled with an indisputable embodiment of the heroic archetype.

Wagner’s Tristan und Isolde, Bologna

Publication: Opera
By Giancarlo Landini

“Bryan Register is a powerful Heldentenor who dealt expertly with all the vocal and dramatic issues that come with the role of Tristan. He brought out a sense of total abandonment in the great second-act love duet and did full justice to his long third-act monologue.”

Opera, May 2020

Wagner’s Tristan und Isolde – la Monnaie/De Munt

Publication: Opera Now
By Ashutosh Khandekar

“Bryan Register paces his Tristan superbly, so that there is plenty in reserve for his great final act outpouring. This is a Heldentenor who treats Wagner with the subtlety and tenderness of a Lieder singer, making the climaxes all the more powerful.”

Tristan und Isolde – Brussels

Publication: Opera News
By Stephen J. Mudge

“Bryan Register gave a tirelessly detailed performance of the punishing role of Tristan, traversing his Act III agonies with sturdy, unflinching tone and phrasing the love duet with a true legato.”

Les Troyens – Semperoper, Dresden, cond. John Fiore, dir. Lydia Steier


“Bryan Register, on the other hand, stands a beautiful, valiant and subtle Énée with a sustained register.”, October 2017 

Les Troyens – Oper Frankfurt

Publication: Online Musik Magazin

“Register convinces in his great aria in the fifth act with brilliant heights with nearly no signs of forcing. As a further musical highlight, the great duet “Nuit d’ivresse” should be mentioned at the end of the fourth act, in which Mahnke and Register find with their vocality and acting a beguiling intimacy.”

Tristan und Isolde – Grange Park Opera

Publication: The Observer
By Fiona Maddocks

“Wednesday’s Tristan was masterly. There had been cast changes. The result, no complaints, was a potent ensemble led by the British soprano Rachel Nicholls and the American tenor Bryan Register…As Tristan, Register held all in reserve for his merciless Act 3 challenge, fearlessly moulding the role to suit his own mix of lyricism, angst and stamina.” 

Die Walküre – Theater Kiel

Publication: Online Musik Magazin
By Thomas Molke

“Bryan Register stattet den Siegmund mit kräftigem Heldentenor aus und wird der Partie auch als optischer Recke mehr als gerecht.

Bryan Register embodies Siegmund with a powerful Heldentenor and visually portrays more than enough the role as warrior.

The Liverpool Philharmonic Orchestra – 175th birthday concert

Publication: Bachtrack
By Rohan Shotton

“Bryan Register sang his Turkish March with impressive lightness and agility, and in the ensuing fugue Petrenko drove some of the fiercest playing from the orchestra.”

Tristan und Isolde – Theater Kiel

Publication: Lübecker Nachrichten
By Jürgen Feldhoff

“Die Besetzung, die in der Premiere zu hören war, bot ein wahres Fest der Stimmen. Bis in die Nebenrollen hinein war diese Produktion großartig besetzt allen voran Jane Dutton und Bryan Register als Tristan. Beide absolvierten in Kiel mit Bravour ihre Rollen-Debüts, vor allem Register zeigte im dritten Akt hinreißende Gesangskunst. Wie er sein Leiden zum Ausdruck brachte, war von einer kaum zu ertragenden Intensität – und das bei vorbildlicher Textverständlichkeit.”

Wozzeck – English National Opera

Publication: The Guardian
By Kate Kellaway

“Bryan Register’s Drum Major, is spectacularly unpleasant: a swaggering thug with shaven head (the music goes into alarmist overdrive when he pulls Marie away for a quick shag – the beginning of her downfall).”