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Press

Silent Night (Ponchel) - Opera San Jose 2017

"Among the French forces are the brooding, romantic Lt. Audebert... and his impish and ingratiating orderly, who somehow seems to get all the best lines (though that may have been an illusion fostered by the beautiful, clear-toned singing of baritone Brian James Myer)."

Joshua Kosman, San Francisco Chronicle

 

"Ponchel proves to be a perfect vehicle for the considerable talents of Brian James Myer. Handsome, charming, stage savvy, and with a polished baritone to boot, Mr. Myer threatens to steal every scene he is in. Ponchel’s 'big moment' is one of the most touching in all lyric theatre, and Brian mined every ounce of detail and pathos from it."

Jim Sohre, Opera Today

 

"Brian James Myer exudes appeal as [Ponchel]"

Georgia Rowe, Mercury News

 

The Barber of Seville (Figaro) - Opera San Jose 2016

"Beginning with baritone Brian James Myer as Figaro, the title character, I have rarely seen an actor of such charisma and agility. Myer’s unwavering charm and energy stole nearly every scene he was in, and with tremendous breath control, projection and clarity of diction, he navigated the octave leaps and challenges of his opening cavatina 'Largo al factotum' with conviction. Never was Myer tiresome or beyond the scope of his multidimensional character."

Elijah Ho, Mercury News

 

"Brian James Myer is a ridiculously talented Figaro, exhibiting notes both falsetto and basso profundo in his deft attack on the role. In his 'Largo al factotum' (featured in the 1949 Bugs cartoon 'Long-Haired Hare'), Myer extended the end of one line to the beginning on the next, serving to smooth a piece that can easily fall into the herky-jerky."

Michael J. Vaughn, Operaville

 

"On that night, one of the most outstanding performances was given by Baritone BRIAN JAMES MYER in the role of Figaro. He acted his role with Gusto and demonstrated his wit, without exaggeration. His tone of voice was exquisite."

Iride Aparicio, Cultural World Bilingual

 

"Brian James Myer delivered a true star turn in the title role. Factotum is too puny a word to describe Mr. Myer’s (dare I say ‘definitive’?) performance. I cannot recall encountering anyone in my many years of seeing this piece who exhibited anywhere near such a total command of the role, the style, the joyous abandon. His arsenal included an effortless stage demeanor, a thoroughly considered subtext, flawless comic timing, and a tirelessly wiry presence.

Brian’s evenly produced, appealing baritone... has plenty of ping and sass, with a warmly ingratiating tone that fills the house."

Jim Sohre, Opera Today

 

The Mikado (Pish-Tush) - Chautauqua Opera 2016

"Brian James Myer, Baritone recipient of the Chautauqua Opera Encouragement Award and the Chautauqua Opera Student Artist Award was equally skilled vocally and in choreography execution singing the character role of Pish-Tush often travelling across the stage on Heelys.”

Todd Pullan, Jamestown Post

 

The Barber of Seville (Figaro) - Florida Grand Opera 2015

“This is a good role for [Hilary Ginther, Rosina], and she should be able to repeat it with much success. The same goes for Myer, a Nevadan with a master’s from the Cleveland Institute of Music. An excellent Figaro, he has a young, clarion voice that carried beautifully, and in his “Largo al factotum” he did just enough of the repeat Figaro calls to make it funny and not over the top. He, too, is a very good comic actor, and his stage business was in the semi­slapstick tradition, which had the large house Sunday afternoon fully on his side.”

Greg Stepanich, Palm Beach ArtsPaper

 

“...his performance in the role of Figaro was an energetic tour-de-force of comedy.”

Jack Gardner, EDGE Media Network

 

“Brian James Myer, a talented comedian, makes an extremely handsome and agile Figaro with a beautiful, though not over powering baritone.”

Jeff Haller, ConcertoNet

 

Tosca (Angelotti) - Opera San Jose 2015

“Brian James Myer gave a highly spirited performance as he opened the action attempting to escape the evil Scarpia”

Heather J. Morris, Peninsula Reviews

 

“Performances given by Brian James Myer... were all well-mannered and deserving of praise.”

Elijah Ho, Mercury News

 

Where Angels Fear to Tread (Gino Carella) - Opera San Jose 2015

“But the winner of the night was Brian James Myer, who stepped into the role of Gino when Matthew Hanscom was unable to perform.  Brian James Myer made the show.  During intermission the audience could not stop talking about the song he sang to his baby. It was a moving performance and made the later tragedy that much more horrendous and upsetting. When he is given his tragic news later, he sobs into Caroline’s lap in a scene that tore at our hearts.  At the end he was given the loudest applause, and he deserved it. Brian James Myer is a name to look for in the future.”

Cynthia Corral, San Jose Metblogs

 

“In the cast we saw at the second performance on Sunday afternoon, Gino was sung for the first time by understudy Brian James Myer... Myer's rich romantic baritone and agile acting proved a real winner. He deserves to sing at least another of the remaining three performances.”

Mort Levine, Milpitas Post

 

 

Pagliacci (Silvio) - Sarasota Opera 2014

“The best two cast members were for me the young Russian soprano Veronica Mitina as Nedda and even younger and handsome Brian James Myer as Silvio. Their love duet was sensual and vocally glowing, in a way that the rest of the evening unfortunately could not match.”

Kevin Clarke, Place de l’Opera Web Magazine (Netherlands)

 

“And Brian James Myer, a young baritone from Las Vegas, also making his Sarasota Opera debut, handled his part as Silvio, Nedda’s real-life lover, with both voice and character to make him stand out in the crowd.”

June LeBell, The Sarasota Observer

 

 

The Magic Flute (Papageno) - Sin City Opera 2014

“Brian [James] Myer was laugh-out-loud funny as Papageno in his silver lame jacket with zebra stripes and rainbow feathers. His rich baritone vocal performance was equal to his comic performance.”

Richard Davis, The Las Vegas Review Journal