Selected PERFORMANCE REVIEWS (2007 – Present)   OPERA:   ARMIDA (Rinaldo) (Metropolitan Opera – 2011) “Lawrence Brownlee, as Armida’s lover, Rinaldo, sang with freedom and fervor.  His Act III solo was the highlight of the evening, a reminder of the infectious excitement Rossini makes possible, if only you do what he tells you.” Zachary Woolfe, The New York Times, February 20, 2011   “Brownlee, van Rensburg and Banks combined for the most moving moment of the night, the third act trio when the two Crusaders rescue Rinaldo from Armida's control.  All six tenors showed vibrant voices with sheen.” Ronald Blum, Associated Press, February 19, 2011   “…through three dulcet coloratura love duets, one per act, with suave bel canto tenor Lawrence Brownlee as Rinaldo—‘Amor … possente nome!’ in Act One, ‘Dove son io?’ in Act Two, and ‘Soavi catene’ in Act Three.”   “Beside the duets and quartet, Brownlee made his mark emphatically in the three-tenor trio ‘In quale aspetto imbelle,’ with Barry Banks as Carlo and Kobie van Rensburg as Ubaldo.”   “Brownlee, echoing him and adding higher notes yet, hit his smoothly.” Bruce-Michael Gelbert, [Q]onStage.com, February 24, 2011   “Lawrence Brownlee, as Rinaldo, stood out.  His lyric voice has little difficulty negotiating the taxing scales that rise to extreme heights.  His duet with Armida in Act Three was impressive and his ardent song of remorse in the same Act stole the show. ” Lewia M. Smoley, ClassicalMusicSource.com, February 28, 2011          (Metropolitan Opera - 2010) “As a result, the stars of the evening are the numerous tenors, particularly Lawrence Brownlee (slimmed-down but still in possession of a formidable high D).” David Shengold, Opéra Magazine, June 2010   “This Armida will very likely be remembered for the superb vocalism of American tenor Lawrence Brownlee (Rinaldo); he moved up into the top league of Rossini-tenors, a rather small but exclusive club led by Juan Diego Flórez.”   “Brownlee sings, even more so than Flórez, with liberated and open resonance, yet delicately and elegantly.  His Italian diction is exemplary, and his dramatic abilities make one also believe that he’s a convincing stage actor.  This proved beneficial in the duets with Renée Fleming; both singers gave the strongest performances of the evening and set the benchmark for credibility and vivid expression of love on an opera stage.” Fred Plotkin, Das Opernglas, June 2010   “Among the four excellent tenors [was]…Lawrence Brownlee as the crusader Rinaldo, who triumphed with his impeccable coloratura and gleaming stratospheric high notes.” Sebastian Sprung, ElNuevoHerald.com (Miami, FL), May 31, 2010   “Heading the coterie of tenors who ring out stratospheric high notes and combative roulades, Lawrence Brownlee delivers a dashing Rinaldo…” William Charlton-Perkins, artSmart.com, May 30, 2010   “If the evening belonged to anyone, it was to Mr. Brownlee, who threw himself into this role with everything he had including, seemingly, more voice than in his most recent outings here.  Brownlee certainly screwed his courage to the sticking point, and in the house Brownlee made the biggest impact of the evening in his Act III cabaletta where his ability to execute the fioritura with fire gave us a sense of the depth of personality of the character himself.” Richard Garmise, Opera Britannia, May 10, 2010   “In this cast, Lawrence Brownlee sang Rinaldo with beauty and precision...especially in his scenes with Renée Fleming.  Brownlee has recently sung several bel canto roles including Don Ramiro in Cenerentola, Count Almaviva in Il barbiere di Siviglia, and Tonio in La fille du régiment." Lew Schneider, Seen and Heard International, May 2010   “Lawrence Brownlee…handled Rinaldo’s transformations convincingly — he must fight a duel with rapiers, fall convincingly in love, suffer visible torments of his divided soul, and at last throw aside his pleading lover with visible regret. His voice is well produced and gifted with luscious high notes…” John Yohalem, OperaToday.com, May 2, 2010   “The tenors had a field day.  The star was Lawrence Brownlee as Rinaldo, cementing his place as one of today’s finest bel canto tenors.  Utterly at ease throughout the role’s two-and-a-third octaves (up to high D) and both fluent and forceful in his coloratura, the newly slimmed down Brownlee was superb.” Robert Levine, ClassicsToday.com, April 19, 2010   “Brownlee’s appearance is vocally stunning and elegant.  He spins out sparkling notes.  And those are just the icing on the cake of a night full of vocal beauty.  He sounds, unlike the other tenors, as though his singing is effortless and all his melodies flow out sonorously.  His is an exceptional voice.” Jordi Kooiman, OperaMagazine.nl, April 20, 2010     “Remarkably, the Met came up with six excellent Rossini tenors, a challenging assignment. They included Lawrence Brownlee as the bewitched Rinaldo…Mr. Brownlee's elegant lyricism blending well with Ms. Fleming's…” Heidi Waleson, The Wall Street Journal, April 17, 2010   “But the production's true highlight features Lawrence Brownlee as Rinaldo and Kobie van Rensburg as Ubaldo and Barry Banks as Carlo, two colleagues who have been dispatched to rescue him from Armida's witchy clutches.”   “…Fleming and Brownlee deliver their ‘Dove son io!’ duet with alluring passion...” David Finkle, TheaterMania.com, April 15, 2010   “Vocally, the cast does the job.  Mr. Brownlee has lost a great deal of weight and looks terrific.  He sang with agility, elegance and Rossinian style, tossing off high notes and roulades…this was a winning performance for an increasingly important artist.” Anthony Tommasini, The New York Times, April 14, 2010   “Amazingly, there are six splendid tenors, the most impressive of whom is Lawrence Brownlee, an extremely elegant singer.  He was particularly sensitive in his numerous duets with Fleming.  Barry Banks and Kobie van Rensburg sing duets with comparable distinction.  The three do a rousing job with one of the great Rossini set pieces, a trio for tenors in the last act.” Howard Kissel, New York Daily News, April 13, 2010   “Lawrence Brownlee is an accomplished Rossini tenor and a graceful, musical singer.  If his Rinaldo makes a rather pallid impression, perhaps that's because the part ideally requires a voice with a lower center of gravity and the ability to project more sheer vocal power than Brownlee can summon.  He does however blend effectively with Barry Banks (Carlo) and Kobie van Rensburg (Ubaldo) in what must surely be the only tenor trio in all opera and a major highlight of Act 3.” Peter G. Davis, Musical America.com, April 14, 2010   “The tenoral sextet was dominated by Lawrence Brownlee, whose sweetness and easy top almost compensated for a timbre that lacks the ideal cutting edge." Martin Bernheimer, Financial Times, April 15, 2010   “Brownlee, previously heard at the Met in two Rossini comedies, cuts a dapper figure with his newly slimmed-down form.  His voice, while not large or penetrating, sounds at times as sweet as if dipped in honey, and he easily conquers the intricate bel canto line that rises well above high C.”   “The highlight of the evening — and turning point of the opera — is the trio in Act 3 for Rinaldo and the two Crusaders who have come to rescue him from Armida.  Brownlee, teaming with Kobie van Rensburg (Ubaldo) and Barry Banks (Carlo), rises to heroic stature as he shakes off Armida's spell and rejoins his comrades.” Mike Silverman, Associated Press, April 13, 2010   “One bright note was Lawrence Brownlee as Rinaldo, one of the opera’s six tenor roles. His pristine, agile voice easily scaled high C’s and D’s, especially in the thrilling Act 3 trio ‘In quale aspetto imbelle’ with Barry Banks and Kobie van Rensburg as Crusaders sent to rescue him.” James Jorden, New York Post, April 13, 2010   "Brownlee, by contrast, seemed to effortlessly glide over even the most difficult passages, his suave, subtly warm voice perfectly at home." Ronni Reich, NJ.com, April 14, 2010     "No such problem for Lawrence Brownlee, commanding as her knight, Rinaldo.  Rossini provides the lovers several duets in which Brownlee just knocked it out of the park. " Jeremy Gerard, Bloomberg News, April 13, 2010   “But it is also very much a tale of masculine determination as the leader of the Crusaders, played and sung brilliantly by the tenor Lawrence Brownlee...” Rob Phelps Provincetown Banner, May 5, 2010   “Lawrence Brownlee’s Rinaldo offered some of the least unpleasant high Cs in the business, and he tossed in a couple of Ds as well.” William R. Braun, Opera News, July 2010   “Lawrence Brownlee outshines Fleming in an opera that’s understandably not in heavy rotation in most repertories.” Robert Hardt Jr., Capital New York, January 4, 2011   (Met’s HD Transmission to Movie Theaters): “…that is the case when Lawrence Brownlee – by far the best among the many tenors onstage – delicately builds the melodic arches up to a high D with pristine coloratura…  It is particularly enchanting how he shapes the well-known tune from the tenorial trio.” Jordan Mejia, Frankfurter Allgemeine Zeitung - Faz.net, May 2010   “Brownlee exhibited an amazing two-octave range from D to D.  The voice is beautiful to hear, without any of the pinched or nasal singing that characterized some Rossini tenors in the 1970s… As an actor he is much better as the comic Almaviva than the heroic or love-sick Rinaldo.  His face is too sweet and open to mimic a villain.  But there is no doubt that Brownlee will be singing Rossini and Mozart with great skill for the next 20 years.”   “That…trio for Brownlee, Banks and van Rensburg in Act Three, when Rinaldo decides to return to the fight and abandon Armida, was strongly delivered by all three and well worth hearing.  Indeed, how often is one going to hear any trio for tenors?” David Rubin, CNYcafemomus.com, May 1, 2010   “Lawrence Brownlee was impressive as Armida's lover and rival, and an unusual trio for tenors was rewarding.” Steve Cohen, The Opera Critic, May 2010   IL BARBIERE DI SIVIGLIA (Il Conte Almaviva) (Seattle Opera) "Featuring two outstanding casts, this Barber was also topped with a dollop of history because tenor Lawrence Brownlee sang the rarely heard and incredibly demanding aria ‘Cessa di più resistere’ (Cease to resist more)"   "Brownlee proved once again that stratospheric notes are part of his daily diet.  He must have hit at least four high Cs in the ‘Cessa di piu resistere’ alone, and the final high C lasted for quite a while.  But no matter what note he sang, the tone was always absolutely gorgeous, and he could articulate runs immaculately and with drama." James Bash, Oregon Music News, January 26, 2011   “Brownlee sings this kind of coloratura with a sort of high-wire tension—very effective in moments of passion or drama…” Gavin Borchert, SeattleWeekly.com, January 19, 2011   “In a standout performance, on-spot tenor Lawrence Brownlee does the impossible.  The role calls for a straight man for Figaro's funny man not to crack a smile, and Brownlee does.  He is a Romeo carried to ridiculous extremes.  See him.  Hear him.  Laugh yourself silly.” Dale Burrows, The Enterprise Newspaper, January 19, 2011   “Publicity for the production has centered on the return of Seattle Opera Young Artists Program alumnus Lawrence Brownlee, now a tenor of world renown, as Almaviva.  His dramatic flair, warmly focused voice, and seemingly effortless technique — magisterial in the rarely performed aria ‘Cessa di più resistere’ — justified all the hype.” Bernard Jacobson, The Seattle Times, January 17, 2011   “As Count Almaviva, superstar tenor Lawrence Brownlee steals the show – not easy to do when playing against a comedic genius like Figaro.  Making good use of his height, Brownlee gives the Count a Napoleonic ego, combining an entirely believable seductiveness with incredible vocal talent – a smooth, assured voice that handles endless 16th-note runs with perfection.  So astonishing is Brownlee that when he adds the aria ‘Cessa di più resistere,’ almost always cut due to its sheer difficulty, you almost don’t notice the impossibly acrobatic coloratura, so mesmerizing is his skill. (The fact that two other leads have to sit down to watch is a clue, though.)” Rosemary Ponnekanti, The News Tribune, January 17, 2011   “In the Saturday cast, Lawrence Brownlee blew the field away with a dazzling and rarely performed aria at the end of the opera, ‘Cessa di più resistere’, resistance is futile.” Ronald Holden, Crosscut.com, January 17, 2010   “Lawrence Brownlee stakes an impressive claim to the title of ‘world’s pre-eminent Rossini tenor’ in Seattle Opera’s current, fast-paced production of Rossini’s The Barber of Seville.  A longtime Seattle favorite who got his operatic start in this city, Brownlee has refined and honed his craft to an impressive level of finesse; he also has trimmed down physically, and now cuts a compelling figure on the stage.   His sheer vocal facility and accuracy in blisteringly fast passagework knocks listeners back in their seats.  And he’s become a terrific comic, too, with some turns in the ‘singing lesson’ scene that reduced Seattle Opera audiences to roaring laughter.” Melinda Bargreen, The Classical Review, January 16, 2011   “The opening night performance on Saturday also proved that the company hired first-class singers with spectacular voices who make easy work of the roller-coaster arias…Clearly the highlight of the cast, though, is tenor Lawrence Brownlee, as Count Almaviva.” Jackson Holtz, The Daily Herald, January 16, 2011   “The young cast all had something to offer, vocally and dramatically…”   “In Saturday night’s cast, Lawrence Brownlee and Sarah Coburn were the Almaviva and Rosina.  Both are products of Seattle Opera’s Young Artists Program.  They were gifted then, ever more so now… Besides his fluent technique and high notes that come easily to him, or so it would appear, he has a sweetness of sound that is beguiling… Brownlee also has a remarkable technique and he made the aria [‘Cessa di più resistere’] a display piece for his vocalism.” R.M. Campbell, TheGatheringNote.com, January 17, 2011   “As Count Almaviva, tenor Lawrence Brownlee was astounding, tearing through breakneck passages and high notes with fluid agility.  Brownlee has been fine-tuning his vocal and comedic skills since kicking off his opera career in Seattle.  Not only did he ace the Count’s aria ‘Cessa di più resistere,’ rarely performed due to its difficulty, he also had the audience rolling in the aisles with his comic moves during the ‘singing lesson’ scene.” Maggie Larrick, Queen Anne News, January 19, 2011   “Mr Brownlee is not only an expert singer of the role, with a beautifully performed aria at the end of the opera, but he is a master comedian as well and he was obviously relishing the bits of business required, most noticeably when he is disguised as a scheming music teacher, or a drunken soldier attempting entry to the Bartolo villa.” A.U., SeattleGayScene.com, January 19, 2011   “Featuring soprano extraordinaire, Sarah Coburn and the phenomenal former Seattle Opera Young Artist, Lawrence Brownlee…  The first-class singers almost made Rossini’s rollercoaster ride sound easy.” Leo Lam, Seattleite.com, January 25, 2011     “Barber ends with Almaviva demanding that this moment of joy endure (in the famously difficult ‘Cessa di più resistere,’ which Brownlee not only sings but acts his way through).” Michael van Baker, SunBreak.com, January 20, 2011   (Metropolitan Opera - 2010) “[Brownlee’s] velvety smooth voice proved once more that he may be one of very few contemporary ideal interpreters of Rossini and bel canto operas.  Beautiful, long, soft sustained lines of the first serenade ‘Ecco, ridente in cielo’ were performed with true lightness and feeling but it was the last big aria ‘Cessa di più resistere’ that won him a great show stopping applause from the audience – and rightfully so. For a long time opera audiences were deprived of this particular bravura aria which was considered by many tenors unsingable. Lawrence Brownlee is among few contemporary tenors who proved the statement wrong with sure top notes, beautifully colored coloratura passages, attention to details and nuance.” Basia Jakubowska, Muzka21, May, 2010   “Lawrence Brownlee confirmed, from the start, the fine impression he had made, in his 2007 debut role of Count Almaviva, with an "Ecco, ridente in cielo" that was a model of bel canto, with the vocal line deliciously decorated, and continued to do so in the subsequent serenade, and the Act One, Scene One final duet, with Franco Vassallo as Figaro.  No slouch at comedy, when impersonating a drunken soldier, the diminutive tenor tilted a potted orange tree down toward himself-of course-to reach a fruit that had been beyond his grasp and, claiming to be billeted at Dr. Bartolo's house, locked Maurizio Muraro, as the doctor, in an embrace that involved a leg up, as well as both arms, when greeting his unimpressed host, with collegial familiarity, as an alleged fellow medical professional. Brownlee also, somehow, briefly wound up on Bartolo's lap in the lesson scene, when doubly disguised as the poor student Lindoro/music teacher Don Alonso.  Brownlee crowned his achievement with a brilliantly florid Cessa di più resistere, his 11 o'clock tour-de-force.” Bruce-Michael Gelbert, [Q]onStage.com, [Q]metropolis.com, mondo[Q].com, February 27, 2010   (Deutsche Oper Berlin) “Lawrence Brownlee, the American tenor who is becoming a regular guest at the house, cut a dashing figure as Almaviva — one of his signature roles, which he has sung at La Scala and at the Met.  At the DOB, he harnessed the vocal sweetness and agility to do justice to the role. His voice rang out clearly and with uncommon power, although his pitch occasionally slipped during Almaviva's punishing runs — a minor flaw that did not diminish Brownlee's appealing sincerity and deep feeling, qualities that he owns in greater quantity than many other prized Rossini tenors.” A.J. Goldmann, Opera News, March 2010   “And the singing is excellent.  The two lead men alone command the stage with superlative skill.  Lawrence Brownlee’s Almaviva is a virile, athletic, burnished performance, bel canto at its best…” Shirley Apthorp, The Financial Times, November 30, 2009     “Lawrence Brownlee...became the unexpected hero of the evening as the performance progressed.  As Count Almaviva he was light on his feet, utterly carefree and vocally impeccable, and he inspired ovations with his gigantic final aria.  He carried the brilliant finale virtually alone with his virtuosic singing.” Klaus Geitel, Berliner Morgenpost, November 30, 2009   “And so at the end, Lawrence Brownlee as Almaviva celebrates the triumph of love with impeccable singing and seizes a microphone like a pop star.” Esteban Engel, Morgenweb.de, November 30, 2009 Mannheimer Morgen, Südhessen Morgen, Bergsträβer Anzeiger, Schwetzinger Zeitung, Hockenheimer Tageszeitung   (Washington National Opera) “The WNO production is graced by the presence of perhaps the finest bel canto tenor of our times, Lawrence Brownlee, in the role of the Count.  Washington audiences have come to love him via his appearances with the Washington Concert Opera at Lisner Auditorium.”   “Diminutive in size, Mr. Brownlee makes up for his lack of physical heft with a supple, luminous voice that can only be described as heavenly…his impeccable phrasing and mind-blowing ornamentation came through loud and clear.  His flawless delivery of Almaviva’s concluding aria caused the audience to erupt into one of the lengthiest outbursts of enthusiastic applause I can remember.” T.L. Ponick, The Washington Times, September 14, 2009   “Brownlee, already familiar in Washington, brings a beautiful high voice with a heroic warm quality that makes it clear why people suspect there may be a lyric tenor (a slightly larger vocal type than a coloratura) lurking inside. He can do the showy fireworks that the role requires with aplomb, as he displayed in the tour de force eight-minute final aria, ‘Cessa di più resistere,’ which was every bit the show-stopper it needs to be. But almost more exciting than his long chains of florid notes was the simple sound of his voice, which is ardent and warm.” Anne Midgette, The Washington Post, September 14, 2009   “The effect of the restoration of this aria, especially as sung so magnificently by Lawrence Brownlee on Monday night, is to remind the listener of why Rossini originally presented the opera under the title, Almaviva, ossia L'inutile precauzione.  It makes Almaviva the star of the show, and indeed he received the loudest ovations.  Brownlee, who has demonstrated his mastery of the bel canto repertoire on several previous occasions...sang with a smooth tone and athletic agility...the high notes were bell-like and reached easily to our seats at the front of the box tier.” Charles Downey, www.DCist.com, www.ionarts.blogspot.com, September 15, 2009   “Overall the performers ranged from good to great with tenor Lawrence Brownlee as Count Almaviva earning the greatest distinction.  This is a role that requires tenderness, stamina and comedy (especially in the voice) and Mr. Brownlee hit every mark.  Though the rest of the cast was good they never seemed to match his level.” Joseph Giannino, OperaOnline.us, September 17, 2009   “Making his Washington National Opera debut, tenor Lawrence Brownlee left quite a mark as Count Almaviva.  America’s answer to reigning coloratura tenor Juan Diego Florez, Brownlee possesses an exceptional technique, a combination of brightness and warmth in the timbre, and a winning way of sculpting phrases.”   “And in the finale…he sailed through ‘Cessa di più resistere," an aria usually cut in performance for lack of a capable tenor to do it justice.   “Brownlee is a natural musician, born to sing the heck out of Rossini.  He also proved to be an effortless actor, having particular fun with the Act 2 music lesson scene…” Tim Smith, Baltimore Sun, September 18, 2009   "The lead tenor demonstrated vocal artistry and capabilities for the part represented. This role is extremely difficult since Rossini’s music has many innovative techniques that demand a great deal of skill and vocal agility." Carmen Ileana Román, FrederickNewsPost.com, October 22, 2009   (Festspiele Baden-Baden) “Anna Bonitatibus (Rosina) and Lawrence Brownlee (Count Almaviva) positively glittered with their virtuoso coloratura technique.” Theophil Hammer, Stimme.de, October 6, 2008   “...[Brownlee] has an abundance of colours and nuances at his command to fully flesh out his role.”  “Plus his velvety timbre blended perfectly with the historical instruments, especially the string section.” Tobias Pfleger, Klassik.com, October 6, 2008   “...the American is quite convincing with his rock-solid coloratura technique and assured delivery.” Georg Rudiger, Frankfurter Rundschau, October 6, 2008   “Lawrence Brownlee as Almaviva impressed me from the first sound he sang.  He is personable, acts confidently and has a voice that seems to fit his personality.  It is a voice without sharp edges, with a slightly baritonal perfume in the lower positions, and reaching into the very highest register without that steely competence some acrobatic tenors produce.  His bel canto is heartwarming and he masters easily and correctly the dangerous fioriture that virtually all his arias contain.  He had to be on the stage almost permanently and he never lagged either in energy or sincere passion.  I was not surprised to hear that he recently sang Tonio in La fille du régiment for the second time in Hamburg, a role which has become almost the exclusive trademark of Flórez with its repeated shattering high Cs, and which few tenors dare to take on.” Francis Shelton, MusicalCriticism.com, October 7, 2008   (Metropolitan Opera - 2007) “…Lawrence Brownlee made his brilliant Met debut this past spring as Almaviva…” F. Paul Driscoll, Opera News, October 2007   “His tone light and poised, his timbre sweet, Brownlee sailed through the bel canto stratosphere – interpolations generous and daring – with elegant ease.  He entered into Sher’s high-jinks orgy with good cheer…and silenced any doubts with a genuinely virtuosic, virtually nonchalant rondo finale.” Martin Bernheimer, Opera, July 207   “Brownlee’s dizzying execution of Almaviva’s music in Barbiere at the Met last season has made him a Rossinian to watch.” Oussama Zahr, Opera News, May 2008   “Mr. Brownlee, an appealing stage performer with a bright, sweet and flexible voice, made a strong impression and won a warm ovation.”   “… Mr. Brownlee is already an impressive singer with a good understanding of bel canto style.  His sound was warm and tender during lyrical flights.”   “…he nailed the notes and brought infectious energy to his performance.”   “When it came time for his curtain call, he choked up during the ardent ovation.  That the evening meant so much to him came through in his likable performance.”   “Or, as Mr. Sher put it, “He has a great spirit.” As Mr. Sher concedes, a quality like that will shine forth even when a debutante singer has never had a rehearsal onstage.” Anthony Tommasini, The New York Times, May 5, 2007   “[Joyce] DiDonato is the best Rosina around, and Brownlee, another young American tenor, is her near equal, an astonishing technician who rightly brought the house down.” Hugh Canning, The Sunday Times (London), May 13, 2007   “The tears that filled Lawrence Brownlee's eyes during his curtain call at the Metropolitan Opera spoke of more than mere relief at a successful debut.”   “True, he had just vanquished the daunting tenor role of Count Almaviva in Rossini's Il Barbiere di Siviglia.  But that was only part of the story Thursday night.”   “He also became a phenomenon that's still entirely too rare — a black man getting a chance to perform a leading role at the nation's premier opera house.”   “The happy news is that Brownlee held his own from start to finish with his more seasoned colleagues, most of whom had already performed several times in the new production by Bartlett Sher.”   “His lyric voice falls on the ear with unusual sweetness, even in its upper reaches, yet it carries enough punch to be clearly heard in the vast Met auditorium.  He has mastered the bel canto technique of fast runs, trills and ornamentation that Rossini requires, and stopped the show with his acrobatics in the aria ‘Cessa di più resistere’ late in the evening.”   “As a performer, Brownlee joined cheerfully in the comic pratfalls of the production and used his short stature (5-foot-6; 168 centimeters) to good comic effect, especially when contrasted with the unusually tall Dr. Bartolo of bass-baritone John del Carlo.” Mike Silverman, Associated Press, April 27, 2007 (appearing in: International Herald Tribune, Washington Post, San Francisco Chronicle, Miami Herald, Seattle Post Intelligencer, Denver Post, Forth Worth Star Telegram, Wichita Eagle among others)   “This [following in the footsteps of Juan Diego Florez] was indeed a hard act to follow, but Brownlee’s performance was rewarded with a standing ovation.”   “…Brownlee impressed this listener with his perfect legato and lovely tone quality in the aria ‘Ecco ridente in cielo.  But the truest test came in the last scene when he pulled out all the stops in the fiendishly difficult aria ‘Cessa di più resistere’ which is usually omitted din most productions.  The ovation which followed almost equaled the one accorded him at his final curtain call.  Brownlee is also a very accomplished actor.”    “He has an attractive stage presence and the kind of charisma that augurs well for his future as a star in the operatic firmament.” Raoul Abdul, The New York Amsterdam News, May 3-9, 2007   “Brownlee took over the tenor role after virtuoso Juan Diego Flórez had been singing it all season, not an easy act to follow, but he pulled it off with aplomb.  In entrance aria ‘Ecco, ridente,’ Brownlee displayed an instrument that was clear, even and flexible.  His ornamentation was creative and included interpolated runs and high notes, with a long-sustained final note.  His singing here and in the subsequent serenade did not want for elegance and, though short of stature, he cut a dashing figure on stage, with a number of comic bits playing on his slightness and litheness.  As the drunken soldier, he wound up on Dr. Bartolo's lap and later the doctor, towering over him, had to make an extra effort to find his way under his broad-brimmed 'Don Alonso' hat to address him.”   “Although Brownlee proved in the course of the evening that he could sing piano, could run and sing at the same time, a useful ability in comedy, and produce head tone as well, while demonstrating a phrase for putative pupil Rosina during the lesson scene, it was near the end of the evening, with his bravura account of the restored ‘Cessa di più resistere ... Ah, il più lieto, il più felice,’ which, in part, shares a melody with Cenerentola's rondo ‘Non più mesta,’ that he truly drove the audience into a frenzy. The roar of approval at his solo final curtain call seemed to bring tears to his eyes.” Bruce-Michael Gelbert, [Q]OnStage.com, April 27, 2007   “Il barbiere di Siviglia returned to the Met in Bartlett Sher’s pretty-busy-gaggy production on April 26 with three unfamiliar principals.  Musical standards remained lofty.  Lawrence Brownlee made his debut as Almaviva, bravely succeeding Juan Diego Flórez…”  “His tone light and poised, his timbre sweet, Brownlee sailed through the bel canto stratosphere – interpolations generous and daring – with elegant ease.  He entered into Sher’s high-jinks orgy with good cheer, height limitations notwithstanding, and ultimately silenced any doubts with a genuinely virtuosic, virtually nonchalant rondo finale.” Martin Bernheimer, Opera, July 2007     LA CENERENTOLA (Don Ramiro) (Rossini Opera Festival – Pesaro) “Her Ramiro, Lawrence Brownlee, also exhibited an enviable top, the high Cs of his aria having just the right degree of peacock-like vanity.” Carlos Marĺa Solare, Opera, November 2010   "Her Prince must measure up to the ghost of Juan Diego Flórez, omnipresent in this place, and Lawrence Brownlee doesn't suffer at all by that comparison… [his] performance remains more than seductive.  Here, he seems tailor-made for the role: his timbre is caressing, never bitter, the registers are beautifully even, the vocalise and the high notes are achieved with ease.  We found he was the Prince Charming of the libretto." Antoine Brunetto, ForumOpera.com, 17 August 2010   “Lawrence Brownlee moved with ease and grace as the Prince, Don Ramiro…the vocal demands are great.  Brownlee met them with admirable panache.” Jack Buckley, Seen and Heard International, August 14, 2010   “Lawrence Brownlee contributed fine singing…” Michael Milenski, Opera Today, August 24, 2010   (Metropolitan Opera) “As Don Ramiro, the Prince Charming of the tale, the young American tenor Lawrence Brownlee was outstanding, with a sweet sound, impressive agility, ringing high notes and a smile that resonated to the core of his interpretation. Mr. Brownlee’s performance of the prince’s big aria, ‘Si, ritrovarla io giuro,’ drew the evening’s most rousing applause.” Steve Smith, The New York Times, May 8, 2009   “Friday night's premiere was a joyful occasion thanks to an outstanding cast, starting with the two lead singers — Latvian mezzo-soprano Elīna Garanča and American tenor Lawrence Brownlee.”   “Brownlee, who debuted in Barbiere two years ago, is that rare phenomenon, a light lyric tenor who can loft effortlessly to a high D with no sense of strain or diminution of quality.  His technique is a match for Garanča’s, and he deservedly won a huge ovation for Prince Ramiro's big aria, ‘Si, ritrovarla io giuro.’  Brownlee is one of the few African-American singers currently performing leading roles at the Met, and it's good the company is bringing him back again next season, when he'll appear in Rossini's Armida alongside Renée Fleming.” Mike Silverman, The Associated Press, May 2, 2009             “Cesare Lievi’s 1997 production handily retains its charm and distinctive humor, and there are terrific performances from singers making their Met role debuts as Angelina (a.k.a. Cinderella) and her prince charming, Don Ramiro.”   “American tenor Lawrence Brownlee, the Don Ramiro, is fast consolidating his reputation as the Rossini tenor of choice in the absence of Juan Diego Flórez.  Don Ramiro makes his initial entrance disguised as his valet Dandini, but from the start there was no mistaking the patrician quality of Brownlee’s singing.  His honeyed tone and exemplary diction contributed handsomely to ‘Un soave non so che,’ the alluring duet he soon sings with Angelina.  And Brownlee’s technical brilliance made Don Ramiro’s big Act 2 aria into a real showstopper.” George Loomis, MusicalAmerica.com, May 4, 2009   “…Lawrence Brownlee (Prince Ramiro) sent his fleet tenor dipping and soaring like a roller coaster.”   “…his expressive eyes flash all the way to the top of the vast Met auditorium.” James Jorden, New York Post, May 8, 2009   “Gioachino Rossini's romantic fairy tale comedy La Cenerentola...was revived on May Day in a winning rendition featuring some newcomers and some recreating their roles.  Elīna Garanča and Lawrence Brownlee were the striking new principals.”   “Tenor Brownlee, as Don Ramiro, Prince of Salerno…immediately reconfirmed, in his bright and fluid entrance recitative, ‘Tutto è deserto,’ the fine impression he made at his debut, in Rossini's Il Barbiere di Siviglia, two seasons ago.  The Latvian mezzo and American tenor were soon, in their duet, ‘Un soave non so che,’ trading lustrous phrases and fluent florid musical figures.”   “In his ‘Sì, ritrovarla io giuro’ sequence of cabaletta, cavatina, and second cabaletta, Brownlee, with flair, displayed ringing high notes, smooth legato, and pyrotechnical proficiency.” Bruce-Michael Gelbert, newyorkqnews.com/qmetropolis.com, May 2, 2009   “In its vocal realization, this Cenerentola was well-nigh faultless.”   “Young American Lawrence Brownlee proved himself yet again one of the finest bel canto tenors of his generation.  The suavity with which he painted his virtuoso lines was astonishing.  His 'Sì, ritrovarla io giuro' was delivered with touching anxiousness that aptly conveyed the lover's wish to find his mysterious woman again.”   “...Brownlee portrayed a memorable Prince Charming.” Marina Romani, www.musicalcriticism.com, May 10, 2009   “Her [Elīna Garanča’s] tenor—her prince—in La Cenerentola was Lawrence Brownlee, the young American.  He is sweet-voiced and nimble.  And we need him: for, when it comes to Rossini tenors, man cannot live on Juan Diego Flórez alone.” Jay Nordlinger, The New Criterion, June 2009   “Another reason I was eager to attend this season’s Cenerentola was finally to hear Lawrence Brownlee, the young American contender in the Rossini tenor stakes and, by the sound of audience response, already a singer the Met has taken to its heart.  Brownlee has, on the evidence, a larger, more liquid sound than Juan Diego Florez’s more nasal tone or Barry Banks’s more brilliant but less sensuous instrument, and he appears to be the equal of both in rapid-fire coloratura.”   “I look forward to hearing him again this summer in the semi-staged operas [L’elisir d’amore and Semiramide] being performed at Caramoor.” John Yohalem, OperaToday.com, June 21, 2009       “Brownlee is as fine a Rossini tenor as exists today.  It isn’t just his astonishing agility or the high notes he produces without strain or alteration of vocal color; it’s the honeyed tone and nuanced phrasing he brings to lyrical and virtuoso passages alike.  Physically Brownlee is small of stature, but as soon as he started singing, he became every bit the romantic swain.” Fred Cohn, Opera News (online), July 2009   “Lawrence Brownlee, a rather short tenor with an amazingly tall voice, sailed elegantly through the stratosphere as her Prince quasi-Charming.” Martin Bernheimer, Opera, July 2009   (Met’s HD Transmission to Movie Theaters): “On top of these super-allegro passages, Rossini’s bel canto is famously near impossible for most singers.  The composer constantly teases and tricks the ear with long passages that follow the sometimes ridiculous but always lovingly observed sentiments of the human heart.  These lovely passages become mush in the mouths of the ill prepared.  As one Rossini biographer put it, ‘A strong case, indeed, could be made for eliminating most of the ornamentation in a modern performance of a Rossini opera, for modern singers are mere novices compared with the singers of his day’.  A strong case against that biographer’s sentiment was made by the principles here as they gloriously executed the seemingly impossible.”   “[They] come as close as we’ll ever see or hear to those virtuosos that Rossini wrote for.” Rob Phelps, The Provincetown [MA] Banner, May 14, 2009   “Tenor Lawrence Brownlee delivers a vocally accomplished Prince Charming...” William Charlton-Perkins, www.artslinl.co.za (South Africa,), May 26, 2009   “Young American Lawrence Brownlee proved himself yet again one of the finest bel canto tenors of his generation.  The suavity with which he painted his virtuoso lines was astonishing.  His 'Sì, ritrovarla io giuro' was delivered with touching anxiousness that aptly conveyed the lover's wish to find his mysterious woman again...Brownlee portrayed a memorable Prince Charming.” Marina Romani, MusicalCriticism.com, (United Kingdom) May 10 2009   (Sächsische Staatsoper - Dresden) “…and above all, as Don Ramiro, there was Lawrence Brownlee, who sang even more beautifully than his excellent colleagues.  He displayed exemplary Bel Canto style, with his bight, agile and most-responsive tenor voice.” Boris Michael Gruhl, Klassik.com, June 13, 2007   (Houston Grand Opera) “On his first entrance he [Brownlee] immediately commanded attention.  He matched the virtuosity of [Joyce] DiDonato [as Angelina]…”   “…in his extended solo scene in Act Two [he] poured out high notes with a brilliant ring, including one held long enough to drive fanatic fans of singing mad.  He's one I want to hear again.” Charles Ward, Houston Chronicle, January 28, 2007   “The Ramiro of Lawrence Brownlee, having conquered Philadelphia in one night in his November debut there, did the same thing in Houston.  The young tenor is an enthusiastic partner onstage, less narcissistic than some current exponents of the part.  Confident in demeanor and sure of Rossini style, Brownlee can sound a bit papery of timbre at the bottom of his range, but the quality improves as he ascends and his daring and accuracy in ‘Dolce speranza’ occasioned delirious applause.” David Shengold, Gay City News, February 16, 2007     "Judging from Lawrence Brownlee’s bravura performance as Don Ramiro (the prince in servant’s clothing) he’s well on his way to opera stardom. He had the audience going wild during the high notes. (I thought I was in Milan for at least 10 seconds.)" Nancy Wozny, www.culturevulture.net, February 5, 2007   “Her [Joyce DiDonato’s] Prince, Lawrence Brownlee, brought the house down with his forthright pacing, effortless high Cs, and clean coloratura in his capstone aria in Act II, ‘Sì, ritrovarla io giuro.’” Walter B. Bailey, Opera News, April 2007 “Stylistically impeccable, the young tenor from Ohio also employed breathtaking technique...with a mixture of audacity and mastery that delighted the audience.” David Shengold, Opéra Magazine, April 2007   “Lawrence Brownlee made a splendid company debut as Ramiro, thanks to warm tone, great flexibility, and fearless command of the high Cs.”  William Albright, Opera, June 2007     L’ELISIR D’AMORE (Nemorino) (Caramoor Festival [Concert Performance]) «Das Jahrbuch: Sänger» (Best Vocal Performance of the Year) David Shengold, Opernwelt, December 2010   “...tenor Lawrence Brownlee, whose performance in Rossini’s Semiramide at Caramoor last summer I missed, but whose Nemorino in Donizetti’s L’elisir d’amore at the same venue was one of the most exciting events I witnessed all year. (Unbelievably, it was the first time he’d sung the role)…" William V. Madison, Billevesées, December 21, 2009   “Mr. Crutchfield, a gifted young cast headed by the vibrant soprano Georgia Jarman and the impressive tenor Lawrence Brownlee, the Orchestra of St. Luke’s and the Caramoor Festival Chorus rose to the challenge in a performance so well prepared it came across as natural and spontaneous.”   “Mr. Brownlee, on a career roll right now, had the requisite vocal qualities for Nemorino: pliant phrasing, deftly dispatched coloratura passagework, easy top notes and, when called for, real carrying power.  From his first moments Mr. Brownlee brought out the yearning in Donizetti’s music.”   “In ‘Una furtive lagrima,’ the show-stopping aria in which Nemorino dares to hope that Adina may actually love him, Mr. Brownlee sang with melting legato and expressive intensity.  He offered a variation on the second stanza, from a source in Donizetti’s own hand, according to Mr. Crutchfield, that made this touchstone aria seem almost new.” Anthony Tommasini, The New York Times, July 19, 2009   “…the evening really belonged to the Nemorino, Lawrence Brownlee, a fast-rising leggiero tenor who won substantial ovations in La Cenerentola at the Met last May.  With his sweet tone, fastidious pitch, and poetic phrasing, Brownlee made ‘Una furtiva lagrima’ and other familiar fare sound intriguingly fresh, banishing, for a moment, the ghosts of Caruso and Pavarotti.  He is likely to have another hit when he returns [to Caramoor later in the month] for Semiramide.” Alex Ross, The New Yorker, August 3, 2009,   “The chief delight of the July 18 performance of this opera by ‘Bel Canto at Caramoor’ was the role debut of Lawrence Brownlee as Nemorino.  Until now, he has enjoyed acclaim almost completely in the ‘Rossini tenor’ repertoire that, besides the operas written by the Pesaro master, takes in brilliant high roles such as Tonio in La fille du régiment and Arturo in I puritani.  The tessitura of Nemorino sits a little lower, and, more to the point, his music is almost exclusively lyrical, with a minimum of fioritura and little tradition of interpolated stratospheric notes.”   “So it was a pleasant surprise to hear Brownlee wrap his honeyed if small voice around this music.  Because he carries so little weight up to the top of the staff, the technically tricky climaxes of ‘Una furtiva lagrima,’ which all sit right on the tenor passaggio, spun out so easily that the aria took on an unaccustomed though ravishing feeling of repose.  He also commands an easy, unforced legato that made the music sound particularly elegant, even in the fast-ish tempo set by conductor Will Crutchfield, director of opera for the Caramoor Festival.” James Jorden, www.MusicalAmerica.com, July 20, 2009   “Lawrence Brownlee (who headlines both Caramoor operas this summer) is one of the fastest rising young singers on the international opera scene.  Having made his professional debut only seven years ago, he has already appeared at La Scala and Covent Garden and won critical acclaim for two leading roles on the Met stage.  Quickly becoming one of the main go-to bel canto tenors of the day, he added another notch to his belt singing his first Nemorino Saturday night.  Even while cutting a dashing figure in a tuxedo, Brownlee effectively depicted the lovestruck schlub at the center of the story.  His smooth tenor filled the house, easily reaching the money notes that the opera aficionados in the crowd were noticeably anticipating.” Matt Blank, www.playbillarts.com, July 23, 2009   “Lawrence Brownlee in a role debut as Nemorino sang with appealing forthrightness and tonal roundness; his rhythmic acuity and technical brilliance made him seem too bright and commanding for the village simpleton.  However, the sweetness of his tone mitigated that impression, and his embellishments to ‘Una furtiva lagrima,’ taken from Donizetti’s notations, were stylishly rendered.” Eli Jacobson, www.GayCityNews.com, August 6, 2009   “Making use of Alberto Zedda's critical edition, Crutchfield gave us fuller-than-usual versions of many numbers, especially with regard to repeats and fully elaborated endings…he had two leading singers who were utterly unfazed by (indeed, seemed to thrive on) the additional challenges.  Lawrence Brownlee and Georgia Jarman, together and separately, were wonderful as Nemorino and Adina — youthful, amusing and touching in proper balance, with lovely fresh tone, technical command, and a commendably word-based approach to line and phrasing that is rare for Americans of their generation.”   “It was hard to believe that this was Brownlee's first-ever Elisir.  Though it lies lower than his trademark Rossini roles, the part emerged with elegant, attractive sound, finely tapered dynamics and excellent, forward Italian diction.  The hapless (and then ultralucky) village swain fits to a T Brownlee's earnest manner and audience-conquering charm.  The last similarly accomplished Nemorinos in my experience came from Carlo Bergonzi and Alfredo Kraus, each a veteran over sixty at the time; Brownlee is in his mid thirties.” David Shengold, Opera News Online, October, 2009     LA GAZZA LADRA (Giannetto) (Teatro Comunale di Bologna) “Her [singer portraying Ninetta] chivalrous lover Lawrence Brownlee, in his role debut as Giannetto, was the delight of the show.  Warm and manly in his lower register, he knows how to gradually pinpoint his breath up to around the high C, quite in the tenor di Grazia style.  As to agility and Italian diction, he is simply perfect.  ‘Pity he has not much to sing solo,’ was the general comment heard during the intermission – but that was Rossini’s fault rather than his own.” Carlo Vitali, Opera Now, July/August 2009           L’ITALIANA IN ALGERI (Lindoro) (Opéra de Lausanne) “A regular of the New York Metropolitan Opera, the Berlin Staatsoper and La Scala Opera in Milan, he is considered "perhaps the finest bel canto tenor of our times" by The Washington Times, "with a supple, luminous voice that can only be described as heavenly."   "Bel canto at its best" enthuses The Financial Times, while The New York Times qualifies Brownlee as "an increasingly important artist".   “Lindoro’s main aria comes at the beginning of the opera and Lawrence Brownlee’s rendition in Lausanne the first night almost brought the house down. The thunderous applause went on for ages.  His voice is like a rainbow of honey, rising through the air, sustaining our memory of the colour of a note before he glides effortlessly to the next.  He also packs sensuality and emotion into his roles.” Michèle Laird, Swisster.com, November 29, 2010   “The Young American tenor Lawrence Brownlee is brilliant as Lindoro in L’italienne in Algier by Giacchino Rossini at the Opera in Lausanne… It is a great pleasure to enjoy again his brilliant voice in a new production in Lausanne...  Mr. Brownlee is not only singing and performing the role as Lindoro well, his wonderful coloratura is not only a long wave of tone, but every tone is there, as if it were played on a harp or piano, and it is presented relaxed and with a lot of beauty.  I will be surprised if it is possible to sing this role any better.” Henning Høholt, Kutlrukompasset.com, November 30, 2010     (Opéra National de Paris) "With his delicate timbre and generous breath, Lawrence Brownlee has no trouble triumphing in the lovely role of Lindoro." François Lesueur, ConcertClassic.com, September 11, 2010   "Lawrence Brownlee vocalizes with elegance and ease." Gérard Mannoni, Alta Musica, September 14, 2010   (Teatro Lirico «Giuseppe Verdi», Trieste) “A truly relevant performance [of L’italiana] – among the best I have come across this year on stage.  The same might be said of Lawrence Brownlee, who in his performances gives a lesson in Rossini-style.  The American tenor might not have a big voice, but it is beautiful and wonderfully projected.  His high notes are very easy – it’s just that simple.  His diction is exact and his technique is immaculate.  He never has to force his voice and one never hears those annoying register breaks that can sometimes plague some of his more widely-known colleagues.  And unlike some of them, the superb Mr. Brownlee doesn’t in any way skimp on the coloratura – on the contrary.  After his ‘Languir per una bella’ the audience showed true enthusiasm, which hardly ever happens with the first-night audiences in this theater.  A true triumph for Barcellona and Brownlee.” A.U., Di tanti pulpiti (www.amfortas.splinder.com), June 1, 2009     “At her same level [Daniela Barcellona’s] stands Lawrence Brownlee, tenore di grazia… [who] is admired and warmly applauded for his elegant phrasing and for his measured style, which allows him to brilliantly execute Lindoro’s arduous coloratura passages” Claudio Gherbitz, Il Piccolo (Trieste), May 31, 2009   “Lawrence Brownlee…imbued the role of Lindoro with his brilliant timbre” A.U., Il Messagero Veneto (Udine), June 3, 2009       (Opera Company of Philadelphia) “Mezzo-soprano Ruxandra Donose and tenor Lawrence Brownlee both specialize in this repertoire and have worked well in other Rossini outings here... Even with a familiar production, the opera was a new experience…carrying itself with more confidence and authority.  She [Ruxandra Donose] gave phrase shapes and dramatic ideas rather than individual vocal skyrockets.  Even more adept at that was Brownlee, her leading man:  Even the best coloratura tenors sound like stunt singers, but not him.  His phrasing was marvelously conversational, as if speaking a first language.  I'll take that over the more virtuosic Florez.” David Patrick Stearns, The Philadelphia Inquirer, November 18, 2008   “Brownlee makes a charming Lindoro.  His pinging tenor soars through the lyrical lines and never loses its poise in the florid embellishments.  He won the audience’s immediate favor with his elegant account of Lindoro’s first-act cavatina.” Robert Baxter, ConcertoNet.com, November 17, 2008   “The standout vocalism this evening belonged to extraordinary young tenor, Lawrence Brownlee, a fine actor with a meltingly beautiful voice, displaying a tonality as sweet and ripe as a late summer peach.  His rendition of Lindoro's famous Act 1 aria was a showstopper.  It is, above all else, the effortless quality of both his singing and theatrical presence that makes Brownlee a riveting performer, without a doubt one at the brink of a major career.” Peter Burwasser, Philadelphia Citypaper, November 18, 2008   (Rossini in Wildbad Festival) “Lawrence Brownlee is thrilling with his steady yet delicately applied tenore di grazia…” J.M. Wienecke, Das Opernglas, September 2008   “Lawrence Brownlee, taking on the steep peaks of the role of Lindoro for the first time [at the Festival], scaled them with valor, all the while offering sweet-toned messa di voce that won him frenetic applause.” Maurice Salles, ForumOpera, July 3, 2008     MEDEA IN CORINTO (Egeo) (Theater St. Gallen) “…with one major exception.  That was Lawrence Brownlee in the secondo tenore role of Egeo, who with his smooth and unfailingly elegant tenor became the evening’s vocal star.  Dressed not so much as a king of Athens but a Muslim warrior…he proved himself a very physical actor as he stalked Alden’s stage.” John Allison, Opera, April 2010   “Elzbieta Szmytka’s vengeful, yet sympathetic, Medea found an equally intense stage partner in Lawrence Brownlee’s Egeo.” Jürg Huber, Neue Zürcher Zeitung, October 20, 2009   “All roles were exquisitely cast, with Lawrence Brownlee, rising star at the Metropolitan Opera, deserving special mention.” Jesko Schulze-Reimpell, Donaukurier, October 19, 2009   “...Lawrence Brownlee used his substantial yet flexible Tenor and his engaging stage presence to create his character Egeo.” Peter E. Schaufelberger, Suedkurier, October 21, 2009           MOSÉ IN EGITTO (Osiride) (Teatro dell’Opera di Roma) “The singers who most stood out were Michele Pertusi as Faraone, the young, enthusiastic Lawrence Brownlee as Osiride…” Luigi Bellingardi, Opera, April 2008     I PURITANI (Arturo) (Seattle Opera) "Most astonishing of all was Lawrence Brownlee (Arturo), whose bright attractive tenor and astonishing range - solid D flats and a brilliantly secure high F - had the hall vibrating with bravos.  With a tinge more tenderness in 'A te, o cara' and a much more liberal use of his exquisite mezza voce, Brownlee could easily become the Arturo of one's dreams." Theodore Deacon, Opera, October 2008   "…when tenor Lawrence Brownlee (as Arturo) went for a full-voiced, unheard-of high F (above high C) in Act III, the level of excitement rose to disbelief. Most tenors can't sing that high without inhaling helium first; Brownlee made it sound easy." Melinda Bargreen, The Seattle Times, May 4, 2008   “The quartet of singers Saturday night was generally splendid. Lawrence Brownlee, a graduate of the Seattle Opera Young Artist Program, sang the notoriously challenging role of Arturo with distinction, lyric impulse and the requisite high notes, including an F above high C.” RM Campbell, Seattle Post-Intelligencer, May 5, 2008   "...but one singer clearly rose above the rest (in more ways than one) and that was Brownlee.  From his first entrance there was that telling hush in the hall that signals a special voice and with his aria, ‘A te o cara,’ this quality was confirmed.  His lovely sound, even production, musical phrasing, and, yes, fine legato made his successful forays into the Rubini stratosphere unimportant.  He tired a bit in the taxing third act but firmly established himself as a bel canto star." Fred Hauptman, Crosscut.com, May 5, 2008   “At last, the tenor, Seattle's own Lawrence Brownlee, gets to hit those amazing Bellini high notes.  God bless Bellini for his genius, God bless Seattle Opera for waiting, God bless Amsellem and Brownlee for their talents!” Ronald Holden, Seattlest.com, May 5, 2008   "During the intermissions, everyone tried to think up more superlative phrases to describe Lawrence Brownlee's supple tenor." Nicholas Scholl, TheStranger.com, May 5, 2008   “In my 70 years, I have never heard better singing than that of Lawrence Brownlee, who sang Arturo, the young lover of the extremely unstable Elvira.  Not since Jussi Bjoerling serenaded us on folding chairs in the dreadful Civic Auditorium in 1955 have I heard a better tenor in Seattle.  Brownlee has developed since his first years in Seattle Opera's Young Artists Program so that now he appears confident on stage, physically as well as vocally.  His voice was utterly free, warm, and capable of superb coloratura. His phrasing and legato was stunning.  His high Cs and Ds were easy and beautiful, and the high F-above-high-C was thrilling if not effortless.  On the world stage, he most often shares the roles of Peruvian tenor Juan Diego Florez.  Having heard them both live several times, I find Brownlee's the more beautiful (and bigger) voice.” Rod Parke, Seattle Gay News, May 8, 2008   “Brownlee, as the cavalier Arturo, not only possesses the extended upper register that is required by this opera, but he has plenty of it and it’s a gorgeous sound with lots of resonance.  He hit the D above high C with gusto and the F above that in full voice with mega gusto.  I don’t know that I’ll ever get the chance to hear that live again.  It was astounding.  No wonder that Brownlee already has recording contracts coming out of his ears.  We’ll be hearing a lot more of him.” James Bash, northwestreverb.blogspot.com, May 13, 2008     “Tenor Lawrence Brownlee stuns Seattle audiences last weekend in Seattle Opera's production of the Bellini rarity, I Puritani, by lofting an F above tenor high C and knocking it into the stratosphere. You've got to hear it to believe it.” Stephen Marc Beaudoin, fromeverycorner.blogspot.com, May 15, 2008   “The singing is an unqualified pleasure thanks to a cast of well-blended voices.  If Lawrence Brownlee as Arturo and Norah Amsellem are outstanding, thanks to their roles and their own dramatic and vocal qualities, the other singers are equally impressive.”   “Few tenors have the effortlessly stratospheric range he [Brownlee} does, or the ability to sing Bellini arias with his musical and emotional integrity.  He made an ardent, appealing lover as Arturo, and his singing brought the house to increasing roars of bravos after each aria.  Yes, he did reach that high F without any apparent strain.” Philippa Kiraly, The Gathering Note (gatheringnote.wordpress.com), May 5, 2008   “Lawrence Brownlee rocked the house as Arturo when he elegantly skewered that high F.  A former Seattle Opera Young Artist, Brownlee’s mellifluous tenor is more powerful and nuanced than when he last performed here in Florencia en el Amazonas.” Maggie Larrick, Queen Anne & Magnolia News, May 7, 2008   “Lawrence Brownlee has elicited enthusiasm in our columns be it in Paris, Lausanne, Brussels or on record.  He is quite at home in McCaw Hall having benefited from being in the Seattle Opera’s Young Artists Program.  Starting right away with the romanza ‘A te o cara’ in Act I, this is a seductive performance.  Through all of Act III it is impossible to resist the youthful grace of his timbre and the flexibility of his vocal production.  Finally he absolutely stupefies in the final ensemble where he takes the mythical top F – Nirvana for tenors.” Jean-Christophe Le Toquin, Resmusica.com, May 19, 2008   “Well, on Saturday, the opening night of Settle Opera’s production of Bellini’s I puritani, tenor Lawrence Brownlee managed a rather nice high F, a full fourth higher [than Juan Diego Florez, hitting high Cs in the Met’s Fille du regiment earlier in the week in New York].  A fourth is the interval between the first two notes of, for example, Wagner’s Wedding March.  To get an idea of Brownlee’s feat as compared to Florez’, sing ‘Here’ on a note at the top of your range.  OK, now sing ‘comes the bride.’  The audience jumped.”    “Brownlee’s singing is damn near impeccable, full of both heart and precision.  His ability to make his singing seem utterly effortless – his notes sound like they’re simply loosed rather than delivered – something I’ve heard only one other SO singer manage at that level, and that’s Jane Eaglen.”  Gavin Borchert, Seattle Weekly, May 11, 2008   “Brownlee has the easy high notes for the aria ‘A te o cara’ in Act I and ‘Credeasi misera’ in Act III and he phrased their long melodic lines with disarming grace and elegance.  The gently swaying rubato that informed the cadences of ‘A te o cara’ was especially fetching – no wonder Elvira was so smitten by this Arturo.” Truman C. Wang, Classical Voice, May 14, 2008   “As Arturo, Lawrence Brownlee, a most impressive product of Seattle Opera’s Young Artists program, delivered tenor singing of thrilling impact; he was lyrical and heroic in the same breath, fearless in tackling Bellini’s often stratospheric tessitura, and notably accomplished in his Italian diction. “ Bernard Jacobson, Seen & Heard International, May 24, 2008   “He is short but powerful, reaching the third-act sought-after high F with a full chest rather than a falsetto.” Angela Allen, ConcertoNet.com, May 6, 2008   (Washington Concert Opera) “If you haven't heard Lawrence Brownlee yet, you have a delight in store; if you have, you've probably already bought your ticket to hear him tonight with Washington Concert Opera. This dazzling young tenor will astonish you with his mastery of coloratura, his trumpeting high notes and the sheer daring of his vocal leaps. He joins forces with soprano Sarah Coburn in a performance of Vincenzo Bellini's last work, I Puritani.” Tim Page, The Washington Post, September 23, 2007   “Equally gifted is tenor Lawrence Brownlee in the role of Arturo.  His vocal skills are incomparable, a good thing in an opera requiring almost inhuman challenges of the lead tenor, including the ability to cleanly achieve an F above high C. Mr. Brownlee nailed his note with authority.” T. L. Ponick, The Washington Times, September 26, 2007   “For a few magical hours Sunday at Lisner Auditorium soprano Sarah Coburn and tenor Lawrence Brownlee seemed to be the world's best opera singers.  As Elvira and Arturo, lovers in Vincenzo Bellini's difficult but beautiful I Puritani, their sweet and radiant voices climbed to stratospheric heights and sped effortlessly through hairpin turns.  It's an accomplishment just to hit Bellini's notes (singers still fear this opera), but to imbue them with the rage, madness and delight the characters live through is an extraordinary achievement.”   “Undoubtedly, the evening featuring these young singers will rank as a high point in the Washington Concert Opera's adventuresome 20-year history.”   “Brownlee's Arturo was simply a joy to hear.  His voice is supple, strong and seamlessly produced throughout the registers.  It would be impossible to improve the performance he gave in the bravura aria ‘A te o cara,’ which shifted gracefully into one of the opera's many gorgeously sung ensembles.” Tom Huizenga, The Washington Post, September 25, 2007   “It was great to encounter Lawrence Brownlee again.  The tenor, making his third appearance with the company since 2004, won two big-time honors, the Richard Tucker Award and Marian Anderson Award, last year, and he is quickly establishing himself on the world scene as a formidable advocate for the 19th-century Italian repertoire known as bel canto.”   “The immediately communicative quality about Brownlee's voice, the vibrant edge in the tone, animated the role of dashing, brave Arturo…an exciting, keenly expressive achievement that understandably brought down the house.  I hope someone will introduce Brownlee to Baltimore audiences before too long.  He's a major addition to the vocal scene.” Tim Smith, Baltimore Sun, September 25, 2007   “The voices were all class A1…”   “He [Brownlee] particularly shone brightly in his duets with Ms. Coburn and he managed the demanding ‘D’ and ‘F’ above ‘High C’!” Bob Anthony, www.allartsreview4u.com, September 24, 2007       “The outstanding cast not only sang all of Bellini's outrageous high notes and impossibly difficult fioriture, they did so with panache and elegance.”   “Tenor Lawrence Brownlee continues to pile up awards for his extraordinary voice and gave an equally impressive rendition of Arturo.  The role has an extremely difficult beginning, entering the stage with challenging music, and ends the evening with a duet featuring one of the highest notes ever written for a tenor.”   “Only a small côterie of the best singers are able even to hit that high F, let alone make it sound relatively good, and Brownlee is firmly in that group.”   “Brownlee's voice was consistently suave and accurate, forming an exceptionally fine mixture with Coburn and the other voices in the great quartet ‘A te, o cara’.” Charles Downey, DCist.com, September 25, 2007     SEMIRAMIDE (Idreno) (Caramoor Festival [Concert Performance]) Headline: “High Notes From a Year of Plenty” “The talented young cast in Rossini’s seldom-staged ‘Semiramide’ at the Caramoor International Music Festival in Katonah, N.Y., in August also enjoyed justifiably rapturous applause for their vocal acrobatics, particularly the luminous-voiced soprano Angela Meade in the title role. Will Crutchfield conducted the Orchestra of St. Luke’s and Ms. Meade’s dynamic colleagues, who included the virtuoso mezzo-soprano Vivica Genaux as Arsace, and Lawrence Brownlee, a rising bel canto star, as Idreno.” Vivien Schweitzer, The New York Times, December 18, 2009   “Tenor Lawrence Brownlee has recently conquered the Met and various European houses as well as Caramoor in its recent L’elisir d’amore.  He is of the Juan Diego Flórez school of singing – uncannily accurate coloratura, easy high Bs, Cs and Ds, superb breath control and nice stage presence.  His voice may even be a bit more appealing than Mr. Flórez’s, whose delivery can be overly bright.  The cuts in his arias were a pity; the audience could have listened to him for hours.” Robert Levine, www.classicstoday.com, July 31, 2009   “The big surprise of the evening was Lawrence Brownlee as Idreno, an incidental character (I guess Rossini needed a tenor).  Mr. Brownlee, though, has an extraordinarily clear tenor voice, and in both his arias, he essayed all the florid lines with ease.” Harry Rolnick, www.ConcertoNet.com, July 31, 2009   “Idreno was sung by tenor Lawrence Brownlee with gorgeous, bright phrasing and a stage presence that is infectious.”  Opera Chic, August 3, 2009   “It’s a treat to hear a really beautiful voice sing a high Rossini role (in contrast to the capon squawking you get from a lot of the boys), particularly since Brownlee doesn’t sacrifice anything in brilliance of coloratura.” La Cieca (a.k.a James Jorden), Parterre Box (www.parterre.com), August 4, 2009   “In the role of the king, Lawrence Brownlee, a rising bel canto star, delivered his arias with aplomb, singing with a clear, expressive voice; fluid phrasing; ringing top notes; and effortless coloratura.” Vivien Schweitzer, The New York Times, August 4, 2009   “The Indian prince Idreno stands a bit apart from the core drama, but he has two splendid arias, which the fine tenor Lawrence Brownlee delivered with succulent tone and technical panache.” George Loomis, MusicalAmerica.com, August 5, 2009   “As Idreno, the Indian king who comes to ask for the hand of Princess Azema, the tenor Lawrence Brownlee sang with a bright tone, free-sounding coloratura and ringing high notes.” Gilbert Mott, www.NewsTimesLive.com (Danbury, CT), August 6, 2009   “Lawrence Brownlee had the thankless role of Idreno — but thankless it wasn’t on this occasion, as his arias were met with joy.  Brownlee has rapidly become a favorite with American bel canto audiences, our homegrown lirico to set against Florez and Banks, and he tossed his smallish, pretty, plangent voice with total security up and down a very broad range (and very quickly, too), occasionally rising to some sizable and solid high notes where the other stars tended to duck them — probably because they are a modern stylistic whim.  Brownlee also acted stern and displeased — suiting Idreno’s role of odd man out — which can’t have been easy considering the audience reaction he was getting.” John Yohalem, www.OperaToday.com, August 9, 2009   “Lawrence Brownlee is well on his way to becoming a household name.  His brilliant, high voice is perfect for Rossini, and he is entirely free of the thinness and lack of grounding some of these voices suffer from.  His is a gorgeous, rich voice that can sail effortlessly into the highest registers demanded by his part with elegance and no sign of effort.  His natural gift is matched by an impeccable sense of style, good taste, and a sympathetic feeling for his character.  It was a joy to hear Mr. Brownlee sing, and I look forward to many years of growing more and more familiar with his work.” Michael Miller, The Berkshire Review for the Arts, August 13, 2009   “Tenor Lawrence Brownlee, as the somewhat ancillary Prince Idreno, stole the evening’s highest honors with superb Rossinian lines and runs, bright ringing timbre, and verbal clarity; it’s hard to imagine it sung better.  His gracious manner suits concert opera –– confident yet humble in acknowledging wild applause.” David Shengold, Gay City News, August 20, 2009   “The most memorable act of creative performance in recent weeks took place at Caramoor, where Crutchfield followed L’elisir d’amore with Rossini’s opulent Babylonian tragedy Semiramide.  Brownlee returned to assume the role of the Indian prince Idreno…the singers offered ornaments and cadenzas galore, with zesty support from the Orchestra of St. Luke’s.” Alex Ross, The New Yorker, August 31, 2009     LA SONNAMBULA (Elvino) (Theater St. Gallen) "Lawrence Brownlee doesn't need any introduction: he is a perfect 'tenorino di grazia', to say the least... He is a natural, radiant presence on the stage and has superb, absolutely clear Italian diction." Alessandro Anghinoni, Place de l’Opera, November 16, 2010   “Lawrence Brownlee performs the role in a captivating manner and with a forceful tenor, his voice has charm and melodiousness, but also bite, when he rejects Armina.” Peter Surber, Tagblatt, October 25, 2010   “... celebrated from La Scala to Berlin and Hamburg and all the way to the Met, Lawrence Brownlee... his flexible, gloriously soft-timbred voice with a virile core, sang the difficult part of Elvino with power and a wonderfully sparkling coloratura." Serge Honneger, Art-Tv.ch, October 25, 2010   “…in his flexible, gloriously soft-timbred voice with a virile core, Lawrence Brownlee, celebrated from La Scala to Berlin and Hamburg and all the way to the Met, sang the difficult part of Elvino with power and a wonderfully sparkling coloratura.” A.U., Art-tv.ch, October 27, 2010   TANCREDI (Argirio) (Orchestre des Champs-Elysées – European Tour)     Rome, ITA – Parco della Musica “For me the real discovery was Lawrence Brownlee, an American lirico-leggiero tenor possessed of enormous range, perfect phrasing and a melting legato which he can sustain over long passages of undeniable difficulty.  Though familiar with his recorded output, I had not yet had a chance to hear him 'live.'  He managed to give vocal consistency to so implausible a character as Argirio; the appreciative audience literally stopped the show with lengthy applause for his second act aria, ‘Ah, segnar in van io tento’.” Giuseppe Pennisi, OperaClick.com, May 25, 2007   “Admirable, however, was tenor Lawrence Brownlee (Argirio) who showed himself at ease with all the ornaments the part provides, both in the quality of the recitatives and in the intensity with which he delivered the arias assigned him.”   “In the end, a solid success, with applause for one and all – especially for Jacobs – and a personal ovation for Lawrence Brownlee, clearly appreciated by all the cognoscenti present, and the genuine star of the evening.” Claudio Listanti, La Voce d’Italia, May 26, 2007       Rotterdam, NL – De Doelen “Lawrence Brownlee (Argirio), with his beautiful, flexible voice and excellent sense of style, is the perfect Rossini -tenor.” Ger van der Tang, Algemeen Dagblad May 29, 2007       Valladolid, SP – Auditorio Nacional “Brownlee gave a highly developed, complete performance as Argirio, complete with easy coloratura and seamless melodic line.” Rosa Sanz Hermida, ABC Castilla y Leon, May 29, 2007      Valencia, SP – Palau de la Música “The tenor Lawrence Brownlee distinguished himself with his admirable technique and his sure and enchanting tone…[he sang] with a clean, pure line and with impressive elegance in his agile execution of the vocal lines.” César Rus, Las Provincias (Valencia), June 1, 2007      Paris, FR – Salle Pleyel “The only one who truly responded to the requirements of Rossini was Lawrence Brownlee, who has a rich voice perfectly projected, with agility and heroism united to make a memorable Argirio.” Yutha Tep, AltaMusica.com, June 3, 2007   “The biggest surprise, however, came from tenor Lawrence Brownlee, who really exemplifies ornate Rossinian singing, with a long-lined and quite ringing voice, very assured passage-work, as resounding in the low notes as in the upper extremes of the range, vocal production at once easy and expressive: his singing of the second-act entrance aria, pretty intimidating, is magnificent in its agility and musicality, the tenor never forgetting that he's portraying a father about to sacrifice his daughter.” Didier van Moere, ConcertoNet.com, June 3, 2007   “A Star is Born…the rising tenor, Lawrence Brownlee”   "Without a doubt, it was an impressive debut for the latter, in the role of Argirio in Tancredi; he is a real find.  The vocalizing at full power is agile, the high notes easy, the style impeccable, and you get the feeling that this new generation is born knowing how to ornament!  Above all, the voice is dark and sonorous, and the middle range appears to be large.” Catherine Scholler, ResMusica.com, June 7, 2007   “Lawrence Brownlee racks up the biggest success of the evening...”   “displaying heroism and involvement in a particularly intimidating part.  The dark color of this voice leaves room to hope that we have here the new ‘baritenor’…”    “An interesting voice – certainly one to follow…” Placido Carrerotti, ForumOpera.com, June 3, 2007   “…René Jacobs, the Orchestre des Champs-Elysées and vocalists such as the astonishing tenor Lawrence Brownlee and the impeccable Rosemary Joshua, treated Rossini with same deference as they would Handel…” François Lafon, Le Monde de la Musique, July/August 2007      Köln, GER – Philharmonie “For the highly-demanding role of Argirio there was the American Lawrence Brownlee, a most experienced exponent of the role…” Curt J, Diederichs, Kölnische Rundschau, June 6, 2007   “Lawrence Brownlee as Argirio has all the requisite easy mobility of a Rossini tenor.” Markus Schwering, Kölner Stadt-Anzeiger, June 6, 2007       Brussels, BE – Palais des Beaux-Arts “The excellent American tenor Lawrence Brownlee (already heard at La Monnaie in Rossini’s Il viaggio a Reims) negotiated his role with perfect clarity of articulation, amazing virtuosity, impeccable projection and spot-on intonation.” Nicolas Blanmont, La Libre, June 9, 2007   “Brownlee is an excellent Rossinian…” Jorge Binaghi, MundoClassico.com, June 8, 2007     IL TURCO IN ITALIA (Narciso) (Deutsche Staatsoper Berlin) “Best of the men were Renato Girolami…and, especially, Lawrence Brownlee as a Narciso with a flexible voice and an easy top, capable of long phrasing and imaginative embellishments.  Both certainly deserved their additional arias.” Carlos María Solare, Opera, November 2008   “Tenor Lawrence Brownlee, as Narciso, was the only one to deliver real bel canto singing all evening.  He showed up his colleagues effortlessly, with shimmering lines of easy grace, fleet ornaments and an arresting combination of relaxed physicality with refined control.” Shirley Apthorp, MusicalAmerica.com, June 30, 2008   “Even a minor role like Narcisco was cast with Lawrence Brownlee, one of today’s best Rossini tenors.” U. Ehrensberger, Das Opernglas, September 2008   “…Lawrence Brownlee also sounded outstanding, with his finely articulated voice that encompasses all the challenges demanded of a Rossini tenor” Manuel Brug, Die Welt, June 24, 2008   “There remains two Staatsoper debutants whom one absolutely wants to encounter again: the enchantingly supple, youthfully bright tenor voice of Lawrence Brownlee as Narciso, as well as conductor Constantinos Carydis…” Gerard Felber, Märkische Allgemeine, June 24, 2008 “Lawrence Brownlee shows how it's done properly: here everything is pure exhibitionism, with his vocal chords vibrating excitedly, each tone falling on the ear like a refreshing rain shower.” Patrick Wildermann, Der Tagesspiegel, June 24, 2008   (Théâtre du Capitole/Toulouse) "Lawrence Brownlee sings his first Narciso with the same apparent ease as his Libenskof in Brussels three years ago.  Sustaining middle and high notes, he vocalizes with suppleness and offers up mixed-voice high notes with beautiful firmness.  We'd like to hear him sing Ottavio". Maurice Salles, forumopera.com, April 1, 2008   “American Lawrence Brownlee (Narciso) sang beautifully with excellent agility…”   “He had the most applause of the afternoon for his aria in the second act.” José M. Irurzun, Seen and Heard, April 5, 2008   “The tenor Lawrence Brownlee portrayed Narciso with a debonair and refined elegance and was a lovely surprise for us.” Pablo Galonce, Le Monde de la Musique, May 2008     ◘   ◘   ◘     RECITALS & CONCERTS:   Concert – Metropolitan Opera National Council – Grand Finals Concert (Guest Artist) “While the judges deliberated, the tenor Lawrence Brownlee, fresh from his successful run in the Met’s production of Rossini’s Armida and a Met National Council Auditions winner 10 years ago, sang splendid accounts of Nadir’s confession of love from Bizet’s Pearl Fishers and the showstopper ‘Ah! mes amis’ from Donizetti’s Fille du Régiment, complete with ringing, effortless high Cs.” Anthony Tommasini, The New York Times, March 15, 2011   “Actually, there was one tenor on stage during the afternoon — Lawrence Brownlee, who won the auditions 10 years ago and recently wrapped up a run at the Met in Rossini's Armida.  He treated the audience to two arias while the judges deliberated.  He began with the tender ‘Je crois entendre encore,’ from Bizet's The Pearlfishers, and wrapped up with ‘Ah! mes amis,’ from Donizetti's The Daughter of the Regiment, tossing off all nine of those famous high Cs with aplomb.”   “Brownlee is probably the closest thing there is to a black American superstar in opera these days, so it was especially heartening that two of the winners, Johnson and Green, also are black.” Mike Silverman, Associated Press, March 13, 2011                       Recital – Rosenblatt Recitals “It would be rash to declare Lawrence Brownlee a great singer simply on account of his debut recital in London, but to describe that recital as anything less than the work of a great tenor would be just plain wrong.  It was not (as a matter of fact) his British debut: that was at Covent Garden in Loren Maazel’s 1984, but his true qualities could hardly have been recognized in that.”   “Since then he has enjoyed considerable success in his proper repertoire; word has evidently gone round, for St. John’s, Smith Square, was full to capacity, – a rare event.  My own seat was right to the back, so that I can vouch for the carrying-power; also for the singer’s freedom from faults – throatiness, doubtful intonation and so forth – which often show up only from a distance.  And one is less susceptible, from a position well back, to the attractions of personality or platform-manner.  Bearing all of which in mind, I have to say that, of the 60-odd concerts I have attended in all the rich provision of the Rosenblatt series, this was the best.”   “The voice (a lyric tenor of moderate volume) is compact and precise in definition but free and radiant in vibrancy.  The rapid flicker-vibrato, a prominent characteristic of the voice as heard on records, would be hardly noticeable ‘in the flesh’ unless you were listening for it: it takes its place as a healthy, enlivening element in the total sound.  The range is impressive, with plenty of body in the lower notes.  The top Cs ring out and, at present, seem to be inexhaustible.  Passagework is fluent, sometimes dazzlingly so, with no aspirates or other ‘separation-devices’ to help (and spoil).”   “But what impressed most of all was his ability to do other things.  He opened with the concert aria Misero! Sogno o son desto, showing a flexibility not only of tone but of mind, responsive to Mozart’s changes of mood.  Then came five songs of Duparc, and a very different area of repertoire, where the vocal range is confined largely to the middle register and feeling is expressed by nuance and care for words.  Here the voice softened in quality as well as decreasing in volume, and though there was none of that fashionable ‘in the mask’ and ‘on the word’ style often favoured in such songs, the style was idiomatic and refined.  The aria from L’Italiana in Algeri and, still more the now almost mandatory one from La Fille du Régiment gave the audience what they had come for – the second half of ‘Ah, mes amis’ was repeated as an encore.  We must all hope he will return speedily and sing as well again.  Then we will be able to speak of a great tenor instead of merely a great tenor recital.” John Steane, Opera Now, September/October 2010   “American tenor Lawrence Brownlee performed an electrifying recital of Lieder and arias…”   “Brownlee is a rare bird: a lyric tenor with a wide range, a burnished dark timbre which is able to scale the highest reaches of its range as well as the lowest with ease.  The voice itself is of a medium size but it is stunningly supported, spinning legato with exact intonation”   “The opening aria of the concert was Mozart’s…concert aria Misero! O sogno.  Brownlee sang this beautifully…I felt this aria…probably received the best reading one is ever likely to hear.”   “Brownlee sang with consistent good taste and technique…”   “The Rossini aria for Lindoro from Litaliana in Algeri…brought the first part of the concert to a rousing conclusion.  The coloratura and attack of the high notes were precise, exciting and clarion clear.  And hearing this I wished that he had sung more opera, which is clearly what he really excels in.”   “The following number – Donizetti’s ‘Ah mes amis, quel jour de fête’ from La fille du régiment - deservedly brought the house down.  This aria was performed with such brilliance and superb style that one could not wish for a more perfect reading of this aria.”   “The…Spanish song…‘Jurame’ …was another virtuoso display of high-flying high notes expertly executed by Brownlee.  The evening was brought to a close with a reprieve of the Donizetti.  It is obvious that Brownlee is destined for a stratospheric career specializing in bel canto.”   “Brownlee has sung in all the top venues in the world and there is no doubt in my mind that he is operatic royalty in the making.” Calvin Wells, Opera Britannia, May 31, 2010 “Lawrence Brownlee - a Winning and Seductive Combination of Vocal Agility and Beauty”   “We might have expected that the rising young bel canto tenor Lawrence Brownlee would include ‘Ah! Mes amis…pour mon ame’ from Donizetti’s La fille du régiment (that’s the number with the nine top Cs) in his Rosenblatt recital at St. John’s, Smith Square – but what we might not have anticipated, after so taxing a programme as this, is that he would sing it again.  That’s eighteen top Cs (and the rest), which isn’t just cheeky, it’s a message: start looking over your shoulder Juan Diego Florez, Brownlee’s breathing down your neck.”   “The extraordinary thing about the young African-American’s voice is its beauty.  In a specialist repertoire which generally favours agility and vocal height over girth (and Florez is the prime example), Brownlee’s burnished tone and ample production, to say nothing of his ravishing mezza voce, make him an extraordinary prospect.  How many Rossini tenors can you name who could sing a sequence of Duparc songs with such accomplishment and controlled rapture.  To hear him caress the words ‘mon amour’ in the first song, ‘Chanson Triste’, using the portamento like a breathless sigh, took something simple and made it seductive.  In ‘Extase’ he took the title at its word and used ‘cover’ like a veil of modesty; and the repeated phrase ‘Toujours l’aimer’ (‘Always to love her’) in ‘Soupir’ had a glimpse of eternity in the sound.  The point is that Brownlee has the depth and amplitude of sound to make his high tenor that much more versatile and beguiling. How I would love to hear him sing Faust – Gounod or Berlioz.”   “Of course he did sing Rossini – ‘Languir per una bella’ from L’italiana in Algeri – with grace and fabulous breath control, again sporting top notes with no narrowing or hardening of tone and all the little grace notes and gruppetti elegantly turned with florid runs sounding, as they should, like a rapid legato.”   “Liszt’s Tre sonetti di Petrarca – again so indicative of the reach of this singer – found a darker resonance in the extravagantly long phrases, ‘Pace non trovo’ eventually opening to a wickedly difficult high D, I do believe, and the final song ‘l’ vidi in terra angelici costumi’ (‘I beheld on earth angelic grace’) achieving an intensity and sweetness that did not diminish in pianissimo.  How rare that is.  Credit, too, to Iain Burnside for the concentrated poise of his ethereal postlude.”   “A intriguing and thoughtful programme, then, from an exceptionally gifted singer – and one which finally achieved a very personal referencing with the inclusion of Cantata by the mysterious figure of John Carter, a fervent civil-rights supporter who was thought to have died (date unknown) in the early 1980s.  As the title implies, Carter binds his four Spirituals into a single Baroque-styled entity – but a Spiritual is a Spiritual however you present it and Brownlee used every resonance of his voice, above and below the stave, to remind us so.”   “As for Donizetti’s top C fest, there was a devilish twinkle in Brownlee’s eye before he despatched it the first time around – but if he had any intention of letting go of the final top C when he came back for seconds he kept it well-hidden.  Rare voice; big future.” Edward Seckerson, TheArtsDesk.com, May 26, 2010   “Two bravura arias…were indeed offered.  Lindoro’s ‘cavatina’ had both fluency in the divisions and thrilling excursions into the stratosphere.”   “Iain Burnside stood aside to join in the audience’s ovation for his partner’s virtuoso feast in the Rossini, having played a not-inconsiderable part in establishing the change of mood in the light footsteps of his introduction.  Another telling measure of the changed attitudes comes in the shape of Tonio’s bravura aria from La fille du Régiment.”   “Brownlee attacked the string of top Cs vigorously but without battering the listener as some current exponents of it do…he spectacularly extended the concluding dominant on the word ‘militaire’.  When he encored the piece at the end of the concert he kept this going for a lung-busting twelve seconds!”   “One side of Brownlee’s musical character then is a show-stopping high tenor.  His total programme contained more substantial fare, suggesting an all-around musician of distinction.  The long Mozart Concert Aria offers little respite for the singer and Brownlee displayed the requisite vocal stamina, maintaining a tightly focused line through the changing moods.  The complaints about his imprisonment and desperate cries for release in the recitative were stirring.  He produced a fine legato in the andante section, ending with two faultless climbing phrases through the passaggio…one could admire his vocal security…”   “…the early ‘Soupir’ [by Duparc] received a hushed, loving performance which had the audience listening intently.  In ‘Phidylé’ singer and pianist luxuriated in the length and slow momentum of the song; they also reflected the mastery of its structure as first Brownlee, then Burnside, brought their parts to a close in convincing depictions of the poet’s confident anticipation of Phidylé’s awakening…This could have been a long-established partnership who had honed their joint interpretations through years of international touring.”   “Brownlee chose all the optional high alternatives.  His Bs and D flats were freely produced, without overt strain or wailing sounds one has hears from tenors who have the vocal strength but are not at home that far above the stave.”   “Inspiring was the call to united worship in ‘Let us break bread together’, which Brownlee ended with an ‘Amen’ in head-voice.  Exaltation was more the feeling embodied by the final ‘Ride on King Jesus’, the piano racing and rumbling in its vivid depiction of Christ’s untiring work.  The tenor capped it with a triumphant high ending.” Richard Nicholson, Classical Source, May 25, 2010     Recital – Art Song Festival at Baldwin-Wallace College “Like a marathon runner, [Lawrence Brownlee] was going to need vast reserves of physical and vocal strength to pull off his ambitious program on Thursday evening, May 20th.  Not only did he cross the finish line in fine fettle, he tacked on an extra few yards with a demanding encore.”   “Mozart’s dramatic scene, Misero, o sogno o son desto, was a big piece to start with, and holding nothing back, Mr. Brownlee committed himself to this dramatic utterance of despair as though he had nothing else looming ahead of him tonight.”   “Mr. Brownlee expertly conveyed the feeling of each of the [Duparc] Chansons and Mr. Katz was a master of pianistic color.”   “Switching into his operatic mode, Mr. Brownlee showed us in Rossini’s ‘Languir per una bella’ why he is in such great demand as a bel canto tenor.  His agility in the aria’s crazy lines, his amazingly long trill (on ‘the cruelest moment that a heart can undergo’) and his deep reservoir of high notes were admirable and expressive.”   “A remarkable descending chromatic line and stunning high notes were standouts in Mr. Brownlee’s performance.”   “And then came the show stopper: Donizetti’s ‘Ah! mes amis’.  Winningly acted out by Mr. Brownlee, this famous aria explores the whole range of the tenor voice and features multiple high C’s.  Martin Katz’s informative program notes promised ‘nine detached high C’s (you may hear more tonight!)’, and I think we did.”   “…the indefatigable duo ended the program with John Carter’s Cantata, an adventuresome setting of Black Spirituals which again made as many demands on the pianist as on the singer.  The concluding ‘Toccata’ on ‘Ride on King Jesus’…put Mr. Brownlee to the high tessitura test.  He passed admirably.”   “In response to a big ovation, Mr. Brownlee joked that he might be running out of steam, but brought out a dramatic Spanish piece (or was it a Tango song?) that proved otherwise.”   “This was a really inspiring recital (one of the teamsingers near me exclaimed, ‘that’s it – I’m going right back to the practice room’).  Not only did Lawrence Brownlee bowl everyone over with the high notes that you expect from an operatic tenor, he sang the whole range of this evening’s repertory with astonishing conviction and sensitivity.” Daniel Hathaway, ClevelandClassical.com, May 24, 2010 “Emotionalism of a much different sort ran through Brownlee’s recital with pianist Martin Katz.  A noted interpreter of the bel canto literature, Brownlee offered high-spirited arias from operas by Donizetti Rossini.”   “Most stirring was ‘Ah, my friends,’ from Donizetti’s The Daughter of the Regiment.  Proclaiming joy at his character’s romantic future, Brownlee held high notes for incredible durations and leapt whole octaves with absolute confidence.  Katz, meanwhile, a vibrant presence at the keyboard, had no trouble filling in for an orchestra.”   “Liszt’s settings of three sonnets by Petrarch unveiled the more ardent, sensuous layers of Brownlee’s voice, but it was the music of Henri Duparc that revealed the complete artist.  His ‘Extase,’ especially, an alluring evocation of love notable for its restraint, allowed Brownlee to accomplish what only a gifted singer performing live can do: take listeners someplace words alone cannot.” Zachary Lewis, The Plain Dealer, May 21, 2010     Recital – Dayton Opera “It sometimes takes an aria or two before listeners become impressed — or bored — by a singer.  But with tenor Lawrence Brownlee, deliberation is unnecessary.  His opening phrases captivated the Schuster Center audience at Dayton Opera’s Star Gala last Friday night.”   “In Brownlee’s voice, lyrical grace and appealing tone rest lightly upon a foundation of solid technique. Following the Italian bel canto tradition, he embellishes the music with vocal ornaments, but never sacrifices pulse or pitch.  His arias are like silken draperies hung from titanium curtain rods: they swoop, swirl and shimmer, but their stability is assured.”   “The Ohio-born vocalist exhibited ample range, and consistent tone from low to high notes. Youthful and good looking, Brownlee used expressive gestures and dynamic inflection to convey the emotions of the characters he portrayed.”   “The recital highlight was ‘Ah! mes amis’ from Donizetti’s The Daughter of the Regiment.  Brownlee managed to make the daredevil octave leaps part of a cohesive phrase, and not just a series of isolated high notes.  At its brilliant conclusion, the gifted tenor held nothing back from the appreciative crowd.” Adam Alonzo, Dayton Daily News, February 2, 2010     Concert – Carmina Burana – Cincinnati Symphony Orchestra "...in a performance of Orff's popular cantata by the Cincinnati Symphony Orchestra and May Festival Chorus that will long be remembered.”   “All three gave the work a delightful theatrical boost in addition to their superb singing.”   “Tenor (Lawrence) Brownlee negotiated the "Ballad of the Roasted Swan" ("Cygnus ustus cantat") with ease, from its perilously high-pitched opening through the bird's stratospheric turns on the spit, all in a voice edged with silver.” Mary Ellen Hutton, Music in Cincinnati, January 16, 2010   "From the first note, this performance was remarkable not only for its refined power, but also for its spontaneity.”   “Tenor Lawrence Brownlee sang the impossibly high role of the roasted swan fearlessly and with a firm tone." Janelle Gelfand, Cincinnati Enquirer, January 16, 2010         Joint Recital with soprano Sarah Coburn – Kennedy Center/Washington, DC “Saturday evening, soprano Sarah Coburn and tenor Lawrence Brownlee graced the stage of the Kennedy Center Terrace Theater.  As bel canto specialists, Coburn and Brownlee’s musical partnership was ideal in duets by Pedrotti, Bellini, Donizetti, and Rossini, while thoughtfully chosen solo works filled out the program.  Instead of a performance for a full house, the musicians genuinely seemed like they were sharing their favorite works with friends.”   “Brownlee’s powerful interpretation of John Carter’s Cantata reminded one of the emotional depths of spirituals, enhanced by novel accompaniments; kudos for programming American music.” Michael Lodico, www.ionarts.blogspot.com, February 3, 2009   HEADLINE:  Opera stars Coburn and Brownlee shine in recital at Kennedy Center “The Vocal Arts Society…presented two skyrocketing stars, soprano Sarah Coburn and tenor Lawrence Brownlee, in a mesmerizing January 31 recital…”   “I hope you…heard them sing this exciting, wide-ranging concert of Liszt, Bellini, Donizetti, John Carter's Cantata of spirituals, and others at KC’s Terrace Theater.”   “If so, no doubt you felt ‘Blessed be the day,’ as extraordinary tenor Brownlee sang from Liszt's Sonnets of Petrarch.”   “The exquisite clarity, grace, and power of each singer – especially when combined in duets from Donizetti's I Puritani and La Fille du Régiment – made the cheering audience feel ‘I beheld on earth angelic grace,’ to quote another Petrarch sonnet from the recital.”   “The audience appeared transformed - rousing standing ovations brought them back for three encores.” Marsha Dubrow, www.examiner.com, January 31, 2009     Recital – Clayton State Univ., Morrow, GA “Saturday night, Lawrence Brownlee, a tenor with an international reputation, sang his local debut recital at Spivey Hall.  It’s a blessing that he recently moved to Atlanta.”   “Brownlee, his voice light and piercing, has the gift.  In dazzling arias by Rossini and Donizetti, he proved himself a master with ringing top notes and effortless agility up and down his range.  His rapport with the audience felt generous, unpretentious.”   “....in Liszt’s ‘Three Sonnets by Petrarch’...Brownlee sculpted each line like it was a bel canto ballad, making the poems of unrequited love seem confessional and deeply personal.”   “At his best, Brownlee showed how to set the standard for music making in the entire city.” Pierre Ruhe, The Atlanta Journal-Constitution, January 26, 2009     Gala Tribute to Plácido Domingo – New Orleans Opera “It takes guts for a young tenor to take to the stage with one of opera's legends.  Lawrence Brownlee went one step farther and tackled one of the trickiest arias in the tenor canon – ‘Ah! mes amis’ from Donizetti's The Daughter of the Regiment.  Brownlee nailed the tour de force, and its final string of consecutive high C's, with aplomb and wit.  He also showed a pleasing bel canto sound in an aria from Rossini's L'italiana in Algeri.” Theodore P. Mahne, New Orleans Times-Picayune, January 22, 2009             Gala Concert 2008 – Richard Tucker Music Foundation “This impressive tenor [Brownlee], the recipient of the 2006 Richard Tucker Award, is earning recognition for his prowess in bel canto roles.  Here he sang ‘Languir per una bella’ from Rossini’s Italiana in Algeri with aplomb, easily navigating the coloratura hurdles with a warm, sweet timbre.”   “Mr. Brownlee’s winning performance …” Vivien Schweitzer, The New York Times, October 28, 2008     Concerts – STABAT MATER– Madison Symphony “Soprano Celena Shafer, mezzo-soprano Kirstin Chavez, tenor Lawrence Brownlee and bass Arthur Woodley assisted in telling the tale, providing strong voices that ranged above the instruments as needed, underscoring as required the emotions of the composition . Rossini applied the full orchestral palette, perhaps in a less florid way than other composers handling similar works.  The vocalists brought sufficient emotion to their roles.”    “Brownlee's bright tenor shone during ‘Cujus animam gementem’." Michael Muckian, The Capital Times, March 9, 2008   “The soloists were first-rate.  Lawrence Brownlee's bright and buoyant tenor voice hit that high C in the operatic ‘Cujus animam gementem,’ music that confirms the conflict between words and music.” John Aehl, Wisconsin State Journal, March 8, 2008     Recital – Tuesday Musical Association – Akron, OH “The song [Lehar’s ‘Dein ist mein ganzes Herz’] added operetta to the span of opera, art song and African-American spirituals that the Youngstown native had covered so persuasively, with the marvelous partnering of pianist Martin Katz.  This young tenor came prepared to show a complete package, and he succeeded with a Tuesday Musical recital of breadth, depth and vocal fireworks.”   “After hearing Brownlee on disc and reading about his successes in the bel canto repertoire at La Scala in Milan or at the Metropolitan Opera, I was primed for the two showstoppers on either side of the intermission.  Brownlee delivered with both.”   “Cessa di più resistere’ is an aria for Count Almaviva in The Barber of Seville that's often cut because it's so demanding.  What an exciting vehicle for Brownlee's nimble, flexible technique.  The tenor popped out the florid writing with impeccable accuracy and an improbable sense of ease.”   “Likewise, Tonio's aria ‘Ah! mes amis, quel jour de fête!’ from Donizetti's The Daughter of the Regiment is not for vocal sissies.  Taking a slightly deliberate pace, Brownlee used his ringing head voice to smoothly connect lines and then knock out the repeated high C's with take-no-prisoners command.”   “It wasn't only the pyrotechnics and the sheer beauty of Brownlee's voice that made the recital such a pleasure, although they went a long way.  Brownlee's diction was also wonderfully clear whether singing a set of French songs by Duparc or the Italian operatic fare.  This performer cares about communicating.  The ornamentation in Rossini or Donizetti can be the equivalent of triple axels: awe-inspiring but empty if the performer doesn't know how to make the decoration part of some larger expression.  Brownlee put all the tricks at the service of the music's story line.”   “During the second half, Brownlee introduced each piece with a touching anecdote or tribute to someone who had inspired him.  Most moving of all was his performance of the spiritual ‘Oh Freedom’.  Brownlee dedicated his performance to the African-American tenor George Shirley, who paved a way through racial bigotry.  Brownlee sang the lyrics, ‘Before I'd be a slave, I'd be buried in my grave,’ with noble, heroic beauty.”   “Singing from his roots, and not losing touch with his Youngstown upbringing, Brownlee is an all-American success story.” Elaine Guregian, Akron Beacon Journal, February 14, 2008 Concerts – STABAT MATER – Santa Cecilia/Rome “The 4 vocal soloists were all splendid…” Mya Tannenbaum, Corriere della sera, October 15, 2007   “…intense performances by Bell, Ganassi, Brownlee and Yang.” Anna Cepollardo, La Repubblica, October 15, 2007   “Among the excellent soloists were Emma Bell (soprano) and Sonia Ganassi (mezzo), plus a special bravo to Lawrence Brownlee (tenor)…” Riccardo Cenci, Italia, October 16, 2007     Concert – Sacramento Philharmonic “Brownlee is a singer of uncommon talent…(he) proved from the outset that the superlatives used to describe his career are well deserved.  He gave a rich and bright rendering of Rossini's ‘Languir per una bella’ from The Italian Girl in Algiers and sang with stunning agility on Bizet's ‘Je crois entendre’ from The Pearl Fishers.  His tenor in both arias was never reaching, always supple, and every high note was delivered with poise, accuracy and elegance.  Brownlee owns the higher registers, and hearing him move from low to high notes is a singular experience.”   “Brownlee's take on the slower ‘Terra amica’ from Rossini's Zelmira was also finely crafted, this time with deep faculty for expression.”   “Pure mastery defined Brownlee's singing of the vivid ‘A te o cara’ from Bellini's I puritani.  The high point clearly was Brownlee's singing of Donizetti's ‘Ah! Mes amis’ from The Daughter of the Regiment.  Brownlee nailed the tricky high-C notes demanded, with each of them a bewitching stage moment that many will remember for quite some time.” Edward Ortiz, Sacramento Bee, April 3, 2007     Recital – Tuesday Musical Concert Series (Omaha, NE) “The repertoire selected for Tuesday's program…highlighted different aspects of Brownlee's versatile tenor.”   “…an opportunity to hear his warm, fluid tone dancing around the higher register for the first time.”   “…we heard him weave through soft, syrupy melodies and navigate complicated breathing techniques with ease.”   “The selections of the program where he truly excelled, however, were the works by Rossini.”   “There is a reason for this. Brownlee, who recently made his debut with the Houston Grand Opera, has at a young age already established a worldwide reputation as a Rossini tenor.  He is particularly good at performing the complex, melodic phrases for which the 19th century Italian composer was known.”   “Not only can Brownlee hit the notes in the higher register, he can sustain them for long passages.” Ashley Hassebroek, [Omaha] World-Herald, February 28, 2007     Recital – Moravian College (Bethlehem, PA) “For me, what makes a musical experience truly memorable is not necessarily compelling music performed beautifully, even superbly, although there was plenty of that at Wednesday night's recital at Moravian College by young tenor Lawrence Brownlee.”   “I thoroughly enjoyed his rendition of a Mozart concert aria ‘Misero! O Sogno, O Son Desto,’ and his set of Schubert songs was sensitively performed.  There were two audience-wowing arias from Brownlee's core repertoire as a bel canto singer:  Rossini's ‘Languir per una bella’ from The Italian Girl in Algiers and that standard tenor chestnut ‘Ah! Mes amis’ from Donizetti's The Daughter of the Regiment.  Brownlee executed the acrobatic Rossini with delightful precision and verve, and nailed the high notes in the Donizetti perfectly.  Even in something much less extroverted, as the Bizet aria ‘Je crois entendre encore’ from The Pearl Fishers, Brownlee's quite masculine tenor was an effective context for Bizet's floating phrases.”   “But what really made this concert memorable was the set of songs at the end, all in one way or another personally significant to Brownlee.  They ranged from Torelli, to some Neapolitan favorites, to others, such as Blitzstein and Weill, that verged on cabaret music, to even ‘Jeanie with the Light Brown Hair.’  The Marc Blitzstein song, ‘Stay in My Arms,’ in particular, was so affecting and effectively sung that I'm taking it as my evening's surprise gift from the singer.”   “The morning after the concert, Brownlee conducted a master class with four advanced Moravian College students.  In the process of giving them advice — how to prepare for a high note, how to breathe, how to link the verbal phrases to the musical phrases, how to tell a story — he in effect laid bare the basis for his moving performance the previous evening.” Philip A. Metzger, The Morning Call [Allentown, PA], February 24, 2007     ◘   ◘   ◘   OTHER:     The Arts Fuse “Though I had heard good things about Brownlee as a rising star – praise critics hear only too often about many young artists – I had never actually heard him.  While reading listener’s comments on YouTube about another singer, I was struck by the matter-of-fact tone of one proto-critic who was adamant in his uncompromising belief in Brownlee’s artistic superiority.  Of course, no matter how well or ill-informed, criticism is omnipresent on YouTube.  Still, when I listened to Brownlee, I had to concur completely.”   “He is essentially a lyric tenor with a spinto’s soul, that is, a voice that combines flexibility with real dramatic power, something just short of a Heldentenor.  Indeed, here is a singer who combines the best vocal qualities of Pavarotti (without the narrowing pinch in the upper range) with the silvery, clarion quality of Nicolai Gedda.  To be sure, Brownlee’s sensibility is Italianate but also stentorian.  In Liszt’s Sonetto 104 del Petrarca, a work the composer later refashioned for solo piano, Brownlee’s interpretive authority and vocal mastery is second to none.  Nevermind the opulence, finesse, and autumnal colors that he manages to coax so effortlessly out of his memorable voice or his ability to ordain ornamental passage work with visceral intensity.  These are only secondary to something even greater: an overwhelming joie de vivre that soars with the majesty of an eagle in flight.” John Bell Young, The Arts Fuse, January 7, 2011   “Viewpoint” “Twenty-first-century audiences now enjoy the musical brio and dramatic acumen of Rossini in ways not thought of in 1913 — due in no small part to the brilliant technique of singers such as Lawrence Brownlee, the wonderful young American tenor who graces our cover this month, and his colleagues in the Met's new production of Armida.  Brownlee is a musician of impeccable taste and craft, as befits a modern virtuoso.  But more than that, Brownlee is a man of great heart, an artist whose onstage grace is a reflection of his generous spirit — a virtue worth applauding in any century.” F. Paul Driscoll Editor In Chief, Opera News, April 2010,           “Hot Tickets” – 2009-10 Season Preview “The Washington National Opera season opens with Il barbiere di Siviglia (Sept. 12), starring Lawrence Brownlee as Almaviva, the role that has cemented his stardom”   “In [the Met Opera premiere of Rossini’s] Armida, [Renée] Fleming will be abetted by no fewer than five formidable tenors – Lawrence Brownlee, Bruce Ford, José Manuel Zapata, Barry Banks and Kobie van Rensburg.” The Editors, Opera News, September 2009     "Reflecting on Style” “But consider a tenor such as Lawrence Brownlee, of whom former ‘Washington Post’ music critic Tim Page once wrote, ‘At his best, Brownlee sounds like he has escaped from the hiss of an old Victrola.’  And there is something strangely old and new in Brownlee's singing — in his style — that suggests a studied respect for great singing and something both novel and individual as well.” Philip Kennicott, Opera News, August 2009     “Frisky Young Tenors on Operatic War Horses” – “Arts & Leisure” “The charismatic example of Mr. Flórez is inspiring a whole new generation of tenors, among them two Americans: Lawrence Brownlee, 35, often tapped for productions when Mr. Flórez moves on…”   “Mr. Brownlee, who won both the Richard Tucker Award and the Marian Anderson Award in 2006, followed Mr. Flórez in the Met “Barbiere” last year, receiving a hero’s welcome.” Matthew Gurewitsch, The New York Times,” April 20, 2008     “Chorier.blog.fr” “This young artist could certainly give a few complexes to quite a number of his colleagues.  You need to know that he’s endowed with a healthy voice, well managed, with rich timbre, clear, sonorous, and musical.  His high notes are luminous, direct, and sunny!  With his friend Juan Diego Flórez, he’s now among the best bel canto artists of his generation. We’re already dreaming of hearing him as Arnold in Rossini’s Guillaume Tell! Run fast to hear him as soon as you have the chance! Pleasure, emotion, and thrills are waiting!” Christian Chorier, Chorier.blog.fr Officer of Arts and Letters Artistic director of the Théâtre de Poissy (Yvelines) and International artistic consultant (Music and opera)

Selected CD & DVD RECORDING REVIEWS     ARMIDA – (Decca/DVD 074.3416) “Brownlee, in what truly is a thankless role, deserves the kudos he’s received for his performance.  Does any other tenor throw in interpolated high C’s and D’s with the ease and brilliance of this man?” Ercole Farnese, ParterreBox.com, February 22, 2011     IL BARBIERE DI SIVIGLIA – (Sony / BMG 822876 80429 2 [2]) “The prime reason for acquiring the set is American tenor Lawrence Brownlee’s Almaviva, whose ‘lively soul’ he personifies skillfully in this performance.  His is a highly attractive light-lyric tenor, his tone combining warmth with brilliance, and as well as fluent coloratura his singing possesses musical grace.  He fully deserves the last-act aria ‘Cessa di più resistere’, which is regularly cut from performances and recordings.” George Hall, BBC Music Magazine, October 2006   EDITOR’S CHOICE “For one of the stalwarts of the repertoire, new recordings of Barbiere have been thin on the ground recently.  So a warm welcome to this one, with an exceptionally talented cast giving a real sense of theatre in a fizzing live performance.” The Editors, Gramophone, October 2006   “No mean feat, he has no need to defer [to Juan Diego Flórez].  The young American tenor possesses a remarkably beautiful tenor voice, an effortless, brightly shining and, at the same time, virile upper register, as well as a stupendous coloratura technique.  And, like Flórez, he uses this virtuosity not merely to show off, but as a bel canto style of an appropriate artistic element.” A. Laska, Das Opernglas, June 2006   “The catalogue lists no recording of Barbiere less than 10 years old, so it must be time for a new one.  And what we want is what we get: a version light of heart and light of touch, graceful in style, with fresh, young-sounding voices (where appropriate), well schooled so as to make those forbiddingly difficult vocal flights sound like flights of fancy, quick as thought and natural as intuition.” John Steane, Gramophone, October 2006   “Brownlee is another artist whose reputation, especially in Rossini, has been quickly made and in auspicious circumstances.  He throws off Almaviva’s fioriture and roulades (in the restored last-scene aria) with complete confidence, adding notes that have, I wager, never been heard before in the role.” Alan Blyth, Opera, September 2006   “We are delighted, on the other hand, to discover in the role of Almaviva a delicious tenor named Lawrence Brownlee, dazzling in charm and lightness, musical and inventive.” A.U., Le Monde de la Musique, December 2006   “The Almaviva, Lawrence Brownlee [is] breathtakingly accurate…” Tim Ashley, The Guardian, October 20, 2006   HEADLINE: Elīna Garanča gets away with it, but the surprise is Brownlee “The surprise comes, however, from the voice of Lawrence Brownlee, a brilliant Almaviva in agility, softness, intensity and moving interpretation: his voice quality and stage fervor strongly recall Flórez.” Elio Girompini, La Corriere della Sera, September 18, 2006   “The tenor Lawrence Brownlee’s Count Almaviva sounds young and desperate in his pursuit of [Rosina], his falsettoing impersonation of the stand-in music teacher epitomising the comedy of this live performance.” Rick Jones, The Times (London), October 28, 2007     CARMINA BURANA – (Euro Artes/Opus Arte DVD 2053678) “Lawrence Brownlee’s ‘song of the roasted swan’ is sung as well as, or better than, I’ve ever heard it in my life.” Lynn René Bayley, Fanfare Magazine, March/April 2011     LA CENERENTOLA – (Deutsche Grammophon DVD 073 4577 [2]) “Lawrence Brownlee has an ideal Tenor voice for Don Ramiro: smooth, with a beautiful timbre and secure top notes.” Ingrid Wanja, Orpheus, March/April 2010   “The superb Lawrence Brownlee…matches the amazing Juan Diego Flórez…note for note and run for run, and his voice has a rounder, somewhat more handsome sound…” Robert Levine, Listen, Summer 2010   “This DVD allows Lawrence Brownlee’s Ramiro to be immortalized.  The young American tenor offers a great performance, the emotional power of his song bursts out of the screen (which he shares with his Cinderella). …Brownlee possesses a superb face, terribly expressive and, a rare thing, he remains pleasant to look at even during the most perilous vocal feats… Vocally, his Ramiro is an anthology, glorious in the insolent, masculine upper register, a shimmering middle, and a remarkable Rossinian lesson explaining why masters such as Zedda pick Brownlee as the first among today’s Rossinian tenors.  But Brownlee stands apart especially in humanity, and thus the constant emotion that emanates from his voice, a voice where, thank God, habit has no place.” Philippe Ponthir, Forum Opera, June 13, 2010       L’ITALIANA IN ALGERI – (Naxos 8.660284-85 [2]) Best of the Year – Opera News 2010 “…American tenor Lawrence Brownlee shows once again that he can do everything Juan Diego Flórez does, with a beautiful sound and more convincing musical commitment.  As the hapless Lindoro, Italian slave of the Bey Mustafà, Brownlee’s sweet, ardent singing and open, resonant upper range are remarkable.” Judith Malafronte, Opera News, January 2011   “Apt vocal casting predominates in this performance from the 2008 Rossini in Wildbad Festival.  In ‘Languir per una bella’, Lawrence Brownlee’s elegant tenor exults in a melodic line fit for a haute-contre.  Throughout, he imbues the yearning Lindoro with romantic distinction.” Warren Keith Wright, Opera, October 2010   “First and foremost, there is the Lindoro of Lawrence Brownlee (whom I recently had the privilege of hearing in Armida at the Met).  At the risk of hyperbole, I believe that this phenomenal artist is arguably the greatest light Rossini tenor in recorded history, or at least in a complete opera recording—certainly, the greatest since Dino Borgioli.  He has everything—a voice of pellucid timbre, evenness of production and breath support in all registers, flawless coloratura technique, and aristocratic taste in interpretation, all allied to a deep understanding of the expressive possibilities of whatever part he assumes.  While there are several other fine renditions of this role on disc, Brownlee surpasses them all, and he alone is worth the price of this set.” James A. Altena, Fanfare Magazine, October 1, 2010   “Stylishly sung and dashingly conducted, this theatrically gamesome L’italiana in Algeri could be the version of choice for a while to come…”   “American tenor Lawrence Brownlee is also in fine fettle as Isabella’s inamorato Lindoro…” Richard Osborne, Gramophone, September 2010   “Two esteemed Atlanta artists -- conductor Robert Spano and tenor Lawrence Brownlee -- cover the spectrum of this terrain in new recordings of exceptional interest and high quality.”   “The heroine Isabella and her lover Lindoro -- mezzo Marianna Pizzolato and tenor Brownlee -- are a nicely matched pair, understated in their virtuosity, with endearing personalities and a natural sense of bel canto style. The whole thing is a delight.”   “With a lyric tenor that’s warm, sweet and agile, Brownlee’s career is still on steep ascent.” Pierre Ruhe, Access Atlanta, June 4, 2010     ITALIAN SONGS – SCHUBERT/VERDI/DONIZETTI/BELLINI/ROSSINI (EMI Classics 7243 5 86503 2 7 [1]) “BEST OF THE YEAR, 2006 – RECITALS” The Editors, Opera News, January 2007   “…and the tenor Lawrence Brownlee, who brings authentic style and real enthusiasm to Rossini’s ‘La danza’.” Roger Pines, Opera, January 2010   “The very fine young tenor Lawrence Brownlee, formerly based in Seattle (where he has dazzled Seattle Opera audiences and also won the Metropolitan Opera Auditions), has shot to international fame with his beautifully natural voice with its easy, nearly infinite top register.  Here he displays those attributes, plus a natural affinity for the Italian song, in a recital disc of Bellini, Verdi, Rossini and more, with the suave elegance of seasoned recital pianist Martin Katz as an ideal partner.” Melinda Bargreen, The Seattle Times, February 10, 2006 “Lawrence Brownlee is a singer on the way up.  In his debut recording, he demonstrates rare taste, imagination and interpretive flair, not to mention the resources of a genuine tenore di grazia.  Born on November 24, 1972, he claims pride in sharing his birthdate with Alfredo Kraus (born in 1927).  The young man’s performances reveal a trace of his predecessor’s sensibility, not to mention his easy top extension.  To this listener, however, Brownlee’s timbre — darker, somewhat richer and warmer — is more reminiscent of Cesare Valletti.  The Ohio native commands poise and agility worthy of the Italian paragon at his best.”   “The repertory on this disc, twenty-one songs in all, reveals operatic gestures in concert attire.  In Bellini’s ‘Torna, vezzosa Fillide,’ Brownlee savors both bel canto grace and a giddy cabaletta.  He demonstrates sensitive understatement in the same composer’s ‘La ricordanza,’ which invokes ‘Qui la voce’ from I Puritani.  In Verdi’s ‘In solitaria stanza,’ the tenor musters legato refinement, with lusty contrast in the comic cries of ‘Lo spazzacamino.’  Brownlee evokes charm in the Neapolitan dialect of Donizetti’s ‘Me voglio fà ’na casa,’ his diction precise even in folksy distortion.  Schubert’s imitation-Italian canzone suggest the purest form of musical flattery, and the tenor relishes their simplicity.  He sustains vitality, amid tongue-twisting speed, in the clichés of Rossini’s ‘La danza’.” Martin Bernheimer, Opera News, April 2006   “The young American tenor, who makes his Covent Garden debut this month in Lorin Maazel’s 1984 and who featured in Rattle’s recording of Carmina Burana reviewed last month, specialises in the bel canto repertoire.  This collection draws on songs from that tradition, with its central compositional figures to the fore, but with the Viennese Franz Schubert – here partly emulating Italian models in setting that language – not inappropriately thrown in.  Brownlee himself proves an adept performer of this music, his characteristic, highly flavoured tone skillfully used in stylish and technically fine renditions, delivered with excellent diction.”   “Particularly enjoyable are Bellini’s ‘La ricordanza’, an offcut from his last opera, I Puritani, a version of Rossini’s famous ‘La danza’ that has particular spirit and élan, and a sonically credible one of Verdi’s portrait of a chimney sweep.” George Hall, BBC Music Magazine, May 2006   “Brownlee’s tenor is gorgeous – beautifully placed, agile, yearning – and ideal for the sentiments in these ardent pieces.  He clearly is on the verge of a major career…” Donald Rosenberg, Cleveland Plain Dealer, January 22, 2006   “The program consists of songs in Italian by the familiar figures: Bellini, Donizetti, Verdi, and Rossini, along with four Italian songs written by Franz Schubert several years after studying with Antonio Salieri.”   “Cutting the swath that they do through the heartland of Brownlee’s home repertoire, they also serve as a fine showcase for the tenor’s outstanding quality: the ringing, forward delivery of beautifully phrased Italian that just doesn’t quit, whether he is soaring above the staff, spinning a long legato line or lightly skipping through a coloratura passage.   Any of these tracks can serve as a textbook example of how well-produced bel canto singing is at once exciting and relaxing for the listener—the sound flows so easily, no matter where the musical line goes with respect to the staff, or how many notes the phrase contains, that we can simply allow ourselves to be carried along with it.”   “These songs [by Schubert] were written as exercise pieces for a Viennese singer to learn to sing in bel canto style, and any student would be well advised to listen for the care with which Brownlee pronounces every consonant (including the doubled ones) clearly while sustaining the legato line.”   “Brownlee’s skill with Italian diction and phrasing, as well as his ability to shape a beautiful melodic phrase, can be very instructive to the student of bel canto who listens attentively.”   “…‘La danza’ [demonstrates] to the full Brownlee’s consistently forward diction in the nonstop barrage of Italian consonants and vowels, winding up with a series of ringing held notes that continue into upward phrases (on one breath, of course).”   “…[displaying] long, smooth phrases in high tessitura, at which Brownlee excels.” Barbara Miller, OperaToday.com, April 2006   “Everybody loves a tenor.  And thanks to the release of his debut recital CD, the young American tenor Lawrence Brownlee is going to be winning a lot more hearts.”   “He proved to possess a light, flexible, freshly beautiful voice tailor-made for the sunny elegance (and fiendish difficulty) of these roles [referring to past Bel Canto performances in Boston].” T. J. Medrek, Boston Herald, January 10, 2006   “Ohio-born Lawrence Brownlee is one of the fastest rising stars in the tenorial firmament, and this debut CD recital evinces a rare talent.  At first glance the repertoire looks unadventurous – Schubert, Verdi, Donizetti, Bellini, Rossini.  Brownlee has, however, avoided the stock operatic arias he might have chosen, resurrecting instead infrequently heard Italian songs for voice and piano by these composers.”   “Brownlee is a genuine lyric tenor, peachy-ripe and mellifluous, neatly dotting in the fioritura in Schubert’s tuneful if predominantly lightweight Vier Canzonen.  A clutch of Verdi’s early Romanze includes a chirpy song about a chimney sweep and a dry-run of the ‘Brindisi,’ the famous drinking song from La Traviata, dispatched with appropriate brio.   “Brownlee’s bel canto credentials are given a lengthier stretch-out on both Donizetti’s ‘L’Amor Funesto’ and Bellini’s ‘Torna, vezzosa Fillide.’  His pinpoint tuning and fast, pliant vibrato are a constant source of pleasure…” Terry Blain, Muso (US/Canada edition), Autumn 2006   “Wouldn’t it be fun if a giant hand could pick us up and put us down in the early 1800s, in the Paris apartment where, at charming soirees, Rossini sat at his piano and accompanied singers in his songs?  Listening to the young American tenor Lawrence Brownlee sing Rossini’s ‘La danza’ you’ll wish it with all your heart.   “Brownlee, the latest addition to EMI’s Debut Series, brings such energy and joy to the tarantella rhythm, its triplets so typical of Rossini, that the music takes wing.  His wit, flexibility and marvelous legato tone lend extra beauty to Verdi songs (‘Lo spazzacamino,’ or ‘The Chimney Sweep,’ is especially arch and beguiling) and bel canto melodies by Donizetti and Bellini.  Four Italian songs by Schubert, written under the influence of Salieri, are an imaginative touch.”   “More poetic and less showy than many singers who sing Neapolitan songs, Brownlee appears to have quite a career ahead of him.” Mary Kunz Goldman, The Buffalo News, January 13, 2006     MEDEA IN CORINTO – (Oehms Classics OC 933 LC 12323) "...is the exquisite Lawrence Brownlee in the supporting tenor role of King Egeo." James A. Altena, Fanfare Magazine, October 6, 2010   “To begin with, honors go to Lawrence Brownlee (Egeo) to participate in an adventure like this one, at the current stage of his top-rate career… Today, Brownlee has staked out a place in the most influential houses, that is to say it’s one of the foremost.   His Egeo can be ascribed to his desire to do justice to forgotten scores, along the lines of Atar (in Salieri’s Axur, Re d’Ormus).  His admirers will be delighted since there we find Brownlee in great form, spirited, moving, finding value in the lowliest recitative and offering a great lesson in singing.” Philippe Ponthir, Forum Opera, June 13, 2010 “Best among the soloists are…Lawrence Brownlee’s Egeo, pleasingly Italianate of tone and negotiating his vertiginous coloratura with skill and style.” Richard Wigmore, Gramophone, Awards 2010     1984 – (Decca DVD 074 3289 [1]) “The singers…are uniformly excellent.”   “…and Lawrence Brownlee (Syme) also gets to show off his high register.” Joseph K. So, La Scena Musicale (www.scena.org), December 14, 2008   “In the supporting roles, all of the singers give strong performances, particularly so for the highly disturbing portrayal of Syme by Lawrence Brownlee.” Sophie Roughol, forumopera.com, July 14, 2008     ROSSINI SONGS – (Opera Rara ORR247 [1]) “A box of gems!...The American Tenor, here in the course of his songs demonstrates the growth he’s made in a few seasons, explaining the place that is his among the world’s best Rossinians.  With Brownlee, feeling the healthy outpouring of one of the most beautiful voices of the moment, virility devoid of any nasality, but above all, a simplicity of being, a generosity and that capacity to bestow on voice and words the most tender, opulent and heroic colors.” Philippe Ponthir, Forum Opera, November 29, 2009   "Some [songs] are witty, others sentimental, still others not a little grandiose, but they show just what a real master can do when he is freed from the pressure of maintaining reputation and achieving success. Here, with a first-rate team of singers and Martineau’s deft contributions, resistance is futile." Steven Pettitt, The Sunday Times (London), November 8, 2009   "The palm goes to Lawrence Brownlee, a tenor whose career is on the rise, and is about to ride the crest of a wave that places him in a position to be a star alternative to Juan Diego Flórez.  Notable are his high notes, brilliant coloratura, melodious singing and sensitivity in his interpretation.  He provides the greatest interest on the album." Raúl González Arévalo, MundoClasico.com, 11 November 2009   “First of the singers is the twice-welcome Lawrence Brownlee – the double accolade accounted for by the ideal suitability of his vibrant, clear-cut tenor voice, elegance of style and technical accomplishment and to the fact that, since encountering him in the new Record of Singing, I’ve personally found that I want to hear as much of him as possible.”   “When Jennifer Larmore joins him for the duet ’Les amants de Séville,’ we are treated to some of the most delightful singing of the whole soirée.” John Steane, Gramophone, December 2009   “Among the singers, tenor Lawrence Brownlee makes the best impression, singing throughout with a firm line and superior dynamic control in all registers.”   “He is especially impressive in 'L'Esule', a touching homage to the Italian countryside, and even more so, in 'Addio ai viennesi' which is probably the highlight of the entire program.  The latter selection requires plenty of coloratura and repeated ascents to high D, all of which Brownlee handles with ease.” David Laviska, Musical Criticism.com, February 2, 2010         STABAT MATER – ROSSINI (EMI 5099964052922) CD OF THE MONTH – January 2011 Gramophone and BBC Music Magazine CD OF THE WEEK – November 2010 La Scena Musicale    Recording  Performance “The graceful individuality of Lawrence Brownlee’s tenor applies firm articulation to the ‘Cujus animam’.” George Hall, BBC Music Magazine, January 2011   “Rossini’s Stabat Mater stands alongside the Verdi Requiem (which pays explicit homage to it) as one of the great operas of the liturgical repertoire.  This exciting new recording, led by conductor Antonio Pappano and featuring a superb cast of operatic luminaries serves as a reminder that that formulation is more than just a facetious paradox.”   “…in Pappano’s hands, the score’s theatrical urgency and narrative flair come vividly to life   “The singing is first rate...”   “[DiDonato] …is well partnered…by Lawrence Brownlee…” Joshua Kosman, San Francisco Chronicle, December 18, 2010   “Lawrence Brownlee, stylish and sweet-toned is…untroubled by the high D flat in his aria’s precipitate dying fall.”   “So expressive is the singing in the tenor and bass arias, one ceases to notice the banality of these particular Latin verses… Tender and expressive word-painting, ornamentation lovingly accommodated within classically delivered vocal lines, is a feature of the entire performance, underpinned by Pappano’s superbly crisp yet endlessly considerate painting of Rossini’s trademark rhythmic invention.”   “The recording, made in Rome’s superb Sala Santa Cecilia, is of demonstration quality, the thrill of the chase in that concluding ‘Amen’ as perfectly rendered as the cloistered beauty of the supplicants’ distant chant in the ‘Eja, mater’.  This is one of the great choral recordings.” Richard Osborne, Gramophone, January 2011    (Highest Rating) “Tenor Lawrence Brownlee, whose voice becomes more appealing with each recording, leads off the soloists in the opening with great tenderness and makes his solo, ‘Cujus animam’ (‘Her soul, searing…was pierced by a sword’), sound easy, including an ascent to a solid, handsome, high D-flat.”   “A great work and a great performance” Robert Levine, Stereophile, March 2011   “He has several fine young soloists.  The American tenor (and Rossini specialist) Lawrence Brownlee sings the ‘Cujus animam’’ with liquid ease (and an easy high D).” David Perkins, The Boston Globe, January 2, 2011   “This new CD includes tenor Lawrence Brownlee in the finest recording of the work since a 1971 one with Luciano Pavarotti.  Some critics say the 38-year-old American singer's voice is reminiscent of the young Pavarotti.  Brownlee at moments even surpasses the late Italian superstar, as in a thrillingly vibrant high D flat, delivered full-throttle.  In this sensual-sounding sacred work – a departure from Rossini's comic operas – the vocal dream team is completed by Russian soprano Anna Netrebko, American mezzo-soprano Joyce DiDonato, the Italian bass Ildebrando D'Arcangelo and the orchestra and chorus of Rome's Accademia Nazionale di Santa Cecilia, conducted by Antonio Pappano.”   “The soloists are all at their vocal peak, offering a searing, hour-long stream of music plugged into an emotional power socket, eliciting hope that ends with an ominous ‘Amen’."     “An interesting footnote to this stupendous recording is that Pappano conducted Rossini's 1841 setting in Rome three years ago for a radio broadcast. From that cast, only Brownlee's voice is heard on the CD being released Dec. 7.”   “The tenor's long-held, electrifying high D flat in "Cujus Animam" – among the best in a century of recorded performances of this Stabat Mater." Verena Dobnik, Associated Press, December 2, 2010 (appearing in San Francisco Chronicle, San Francisco Examiner, ABC News.com, The Huffington Post, The Washington Examiner, The Denver Post, The Boston Globe.com, BuffaloNews.com, FoxNewsLatino.com, Atlanta.com, Chicago.com, St. Louis.com, Denver.com, MusicPlayOn.com [in French and German ], and Houston Chronicle [In Spanish] among others)   “The most familiar movement of the Stabat Mater is the tenor’s ‘Cujus animam gementem,’ an unapologetically operatic aria that, with its climactic top D-flat, has proved irresistible to virtually every tenor capable of singing it—and to more than a few incapable of singing it.  Though his lines in ensembles are a credit to Rossini’s skill as a composer of four-part polyphony, the aria is the tenor’s only opportunity to emerge from his surroundings, as it were, and with singing of bright, soaring immediacy the American tenor Lawrence Brownlee emphatically claims his moment.  The fluency of Mr. Brownlee’s bel canto technique is compellingly displayed in ‘Cujus animam,’ the lilting principal theme of the aria delivered smoothly and with deceptive ease.  Bravura passages managed handily, the aria is capped with a lovely top D-flat that is sustained comfortably but not long enough to seem vulgar.  Throughout the performance, Mr. Brownlee sings with the sort of finesse that confirms his reputation as one of the leading Rossini tenors of his generation.”   “Especially with the performances given by Ms. DiDonato and Mr. Brownlee, however, this recording documents a standard of Rossini singing that makes this performance one that should be heard by all who treasure the rarefied art of bel canto.” Joseph Newsome, VoixdesArts.com, December 3, 2010    (Highest Rating) “Lawrence Brownlee excels in the jaunty ‘Cujus animam’…”   “What defines the performance is its polish and stylishness, giving the Stabat Mater a stature it has seldom, if ever, achieved on record.” Andrew Clark, Financial Times, November 13, 2010   “The blend of Anna Netrebko's soprano and Joyce DiDonato's mezzo-soprano is particularly effective, both in duet form on ‘Quis est homo’, and underpinned by Lawrence Brownlee's tenor on the opening ‘Stabat mater dolorosa…’” Andy Gill, The Independent, November 5, 2010   “CD of the Week”   “Tenor Lawrence Brownlee sounds uncannily like the very young Pavarotti…” Norman Lebrecht, La Scena Musicale, November 1, 2010      As GUEST ARTIST on a Recording   Joyce DiDonato: COLBRAN, THE MUSE – (Virgin Classics 945790 6 [1]) "Tenor Lawrence Brownlee makes a pleasant cameo appearance in the Otello excerpt singing the Gondolier’s sorrowful Dantesque phrase." Ercole Farnese, Parterre.com, November 6, 2009   “…excepting tenor Lawrence Brownlee who offers a beautiful rendition of the Gondolier's song in Otello.” David Laviska, MusicalCriticism.com, November 1, 2009   “The disc even offers a lovely cameo by another American Rossinian superstar, Lawrence Brownlee”. David Shengold, Time Out New York, October 15-21 2009     Comments About the Stabat Mater   "It was wonderful that we could get four vocal stars together in the studio for this recording.  I knew that Joyce DiDonato, Lawrence Brownlee, and Ildebrando d'Arcangelo were experienced Rossinians, however, this was new repertoire for Anna Netrebko.  The 'Inflammatus' fit her like a glove, as I knew it would.  This is such heavenly music – I jumped in the air when I learned that we could get her for this recording."   "The soloists worked together in a very special way, and you can hear this on the recording.  Each of them retained their individual personalities while complementing the personalities of the other three. They formed a remarkable team, in terms of expression and the creation of musical colors.  In particular, the a capella sections turned perfectly, I think.” Antonio Pappano