John Brancy, was the star of a stratospheric competition. On a vocal level, schematically, Brancy is a Gerald Finley in his 30s.
- Le Devoir (Concours musical international de Montréal, 2018) -
John Brancy’s intense musicality and communicative power place him in the front ranks of baritones of his generation. Hailed by the New York Times as “a vibrant, resonant presence,” Brancy won First Prize in the Art Song Division of the 2018 Concours Musical International de Montreal, a win that recognises him as a premiere interpreter of Art Song repertoire. The New Jersey native also won First Prize in the 2018 Lotte Lenya Competition in New York, Second Prize at the 2017 Wigmore Hall Competition in London and prior to that won the media prize in the 2017 Belvedere International Singing Competition in Moscow and first prize in the Jensen Foundation Vocal Competition in 2015. He is also a past winner of the Marilyn Horne Song Competition and the Sullivan Foundation Grand Prize.
The 2019-20 season marks Mr. Brancy´s house debut at the San Francisco Opera in the role of Donald in Britten´s Billy Budd. He returns to the Pacific Opera Victoria in the role of Steward in Dove’s Flight. His season includes a residency at The Banff Centre and concert performances of Brahms´ Ein Deutsches Requiem at Opéra National de Bordeaux, Puccini’s Messa di Gloria with Rundfunkchor Berlin on tour in Milan and a new work by Michael Gandolfi with the Boston Symphony. As a concert soloist he also sings Handel’s Messiah with the US Naval Academy and The Florida Orchestra and appears for a recital with the New York Festival of Song.
Last season Brancy returned to Oper Frankfurt for a new production of Olga Neuwirth’s Lost Highway directed by Yuval Sharon, conducted by Karsten Januschke. Brancy then embarked on a national tour of his critically acclaimed programs A Silent Night: A WWI Memorial in Song and Armistice: The Journey Home with internationally renowned pianist and collaborator Peter Dugan. This tour took Brancy to locations such as Stanford University, West Point Academy, the Smithsonian Institute, the US Naval Academy and the Kennedy Center to name a few. Brancy then went on to sing Händel’s Messiah with performances in Victoria Symphony in Canada, the Johnstown Symphony and a return to Carnegie Hall’s Isaac Stern stage under the baton of Kent Tritle with Musica Sacra. Brancy then made his way to Lisbon, Portugal, for a semi-staged production of Romeo et Juliet where he performs the role of Mercutio with the Gulbenkian Orchestra and Chorus conducted by Lorenzo Viotti. Additionally, Brancy collaborated again with director Yuval Sharon as a featured performer on a new production of Meredith Monk’s ATLAS, which marked Brancy’s debut with the LA Philharmonic. Brancy also appeared as soloist in a staged production by Sascha Waltz of Brahms’ Requiem with the Rundfunkchor Berlin titled Human Requiem at the Radialsystem Berlin and in Istanbul, and sang the Fauré Requiem with the Netherlands Radio Philharmonic Orchestra and Orff’s Carmina Burana with the Orchestre National Bordeaux Aquitaine under Paul Daniel.
Of special interest is Brancy’s recently released CD, A Silent Night: A WWI Memorial in Song, with Peter Dugan. Their work together has presented them with debuts at Alice Tully Hall as part of the Juilliard Alumni Recital Series, Carnegie Hall as part of the Weill Recital Series and Vocal Arts DC at the Kennedy Center. They have also won numerous awards and critical acclaim for their work together as a duo. In the previous season, on the opera stage, Brancy appeared as Albert in Stadttheater Klagenfurt’s production of Werther conducted by Lorenzo Viotti and followed with a reprise of Malatesta in Don Pasquale for Landestheater Vorarlberg in Bregenz. For Saint Thomas Church in New York, he was heard in Brahms’ Requiem. Finally, he was a featured soloist at the Carmel Bach Festival in Bach’s St. Matthew Passion and the Carmina Burana.
Other past engagements include important debuts at Florida Grand Opera singing the title role in Eugene Onegin, Clarion Music Society as Papageno in Die Zauberflöte, for Opera Omaha as the Steward in Dove’s Flight, and Opera National de Lorraine in Nancy as Harlekin in Ariadne auf Naxos. Other highlights have included his debut with the Glyndebourne Opera Tour as Malatesta in Don Pasquale, his Opera Theatre of Saint Louis debut as Harlekin in Ariadne auf Naxos, Demetrius in A Midsummer Night’s Dream for Pacific Opera Victoria and Dancaire and Morales in Carmen for Oper Frankfurt.
Brancy has been engaged by Semperoper Dresden, Edmonton Opera, Théâtre du Chatelet in Paris, Opera Saratoga, and Opera San Antonio. Recital credits include the Hugo Wolf Akademie, Carnegie Hall, Alice Tully Hall, The Kennedy Center, the New York Festival of Song with pianist Steven Blier, the Collaborative Arts Institute of Chicago, and Société d’art vocal de Montréal in collaboration with pianist Peter Dugan. He has also appeared with the San Francisco Symphony, Boston Symphony, Kansas City Symphony, and the Edmonton Symphony. Brancy holds a graduate degree from the Juilliard School in New York.
M: +49 (0)171 212 6728
John Brancy has the essential combination of talents to keep an audience gripped.
ConcertoNet.com (Eugene Onegin, Florida Grand Opera, 2017)
John Brancy’s Dandini was suave, funny and cool, his high-lying baritone also able to negotiate Rossini’s fiorature.
Bachtrack (La Cenerentola, Opera Saratoga, 2015)
John Brancy was steady and exultant in “The trumpet shall sound”.
The New York Times (Händel´s Messiah, Carnegie Hall, 2014)
Photo Credit: Gerard Collett