OPERA BIO
Tenor Joseph Michael Brent continues to gain recognition throughout the U.S. and abroad for his burnished, robust vocalism and effective, insightful dramatic characterizations. Most recently, Dr. Brent enjoyed an outstanding debut with Taconic Opera performing his first Chevalier des Grieux in Massenet’s Manon. An extremely versatile artist who is consistently re-engaged wherever he appears, Dr. Brent recently performed to enthusiastic response as Pang in Puccini’s Turandot and Basilio in Le Nozze di Figaro with Maryland Lyric Opera. He also debuted with the Metropolitan Opera Guild in “On Tour! Spring 2022”, which featured him in a new pastiche presentation of Carmen’s famous “Flower Song” and Rigoletto’s equally-famous “La Donna e Mobile”. This immediately prompted a return fall engagement as tenor soloist in the Met Opera Guild’s “The Many Sounds of Verdi”, which featured Dr. Brent in a number of exciting Verdi arias and duets from La Traviata, Aida and Don Carlo.
Previously, Dr. Brent was received with wild enthusiasm when he performed as Alfred in Die Fledermaus with the Lyric Opera Studio of Weimar (Germany), as Nicias in Thais with Maryland Lyric Opera, as tenor soloist in Beethoven’s Ninth Symphony with the Montgomery Symphony, and as D’Artagnan in the rarely-performed Le Trois Mousquetaires with Phoenicia International Festival of the Voice. Of further recent note, Dr. Brent was the inaugural tenor resident artist of the Michigan Opera Theatre (“MOT”) Studio, under the artistic direction of internationally-acclaimed tenor Richard Leech and the late opera impresario Dr. David DiChiera. His roles included Theodore “Laurie” Lawrence in Little Women, Martin in The Tender Land, the Kronprinz in Silent Night, Malcolm in Macbeth, Trin in La Fanciulla del West, and Remendado in Carmen. He was also a proud participant of the Maryland Lyric Opera Institute.
Before joining the MOT Studio, had sung many of the most significant roles in the tenor repertoire including the title role in Les Contes d’Hoffmann with the Martina Arroyo Foundation Prelude to Performance, Edgardo in Lucia di Lammermoor and Don Jose in Carmen, both with New York Opera Exchange, Rodolfo in La Boheme with La Musica Lyrica, B.F. Pinkerton in Madama Butterfly with Quisisana Resort, the title role in Albert Herring with the Bronx Opera, and Tamino in Die Zauberflote and Nemorino in L’Elisir d’Amore, both with the University of Georgia Opera Theatre.
Joseph Michael Brent made his auspicious Carnegie Hall in 2013 singing the roles of Wagner and Nereo in Boito’s Mefistofele with the Master Voices (formerly the Collegiate Chorale) and the American Symphony Orchestra. Dr. Brent has performed at other such noteworthy venues as The White House, David Geffen Hall (formerly Avery Fisher Hall) Salone Pedrotti at the Rossini Conservatory, Teatro Titano (San Marino), Sant’Agnese in Piazza Navona (Rome, Italy), Stefaniensaal (Graz, Austria), Theater im Schlossgarten (Arnstadt, Germany), the New York State Theatre and Symphony Space New York.
In addition to his accomplished operatic career, Dr. Brent is also a sought-after concert soloist and recitalist. Notable performances include Ralph Vaughan Williams’ song cycle for tenor and piano quintet, On Wenlock Edge at Detroit’s Scarab Club. He has premiered works by composers Michael Fiacc, Gilda Lyons and Mitchell Bach. Other performances of note as tenor soloist include Beethoven’s Symphony No. 9 at Greater Anderson Musical Arts Consortium, Mozart’s Requiem with Orchestral Nepal, Handel’s Messiah with Archdiocesan Cathedral of the Holy Trinity, Saint-Saens’ Christmas Oratorio and Gounod’s Messe sollennelle with Rockland County Choral Society, Schubert’s Mass in B-flat, D. 234 with members of the Detroit Symphony Orchestra, and the United States of America’s national anthem for the San Francisco Giants at AT&T Park. Dr. Brent has collaborated with such celebrated conductors as Louis Salemno, Karen Kamensek, Imre Pallo, Robert Lyall, Stephen Lord, Joseph Rescigno, David Abel, Valerio Galli and James Meena, as well as Kathryn Wright, Kathleen Kelly, Martin Katz, Elaine Rinaldi, Timothy Cheek and the late Joan Krueger.
A native New Yorker, Joseph Michael Brent earned his Doctor of Musical Arts degree from the University of Georgia, with a dissertation on selected vocal works of Giovanni Paolo Bottesini. Dr. Brent is a proud graduate of the Frank Sinatra School of the Arts and holds an undergraduate degree from the Conservatory of Music at Purchase College S.U.N.Y., where he studied double bass with principal bassist of the New York Philharmonic, Timothy Cobb. As a vocalist, he was a student of Frederick Burchinal and currently studies with William Stone.
VIDEO
Ah! Fuyez douce image / Manon (Massenet)
En fermant les yeux / Manon (Massenet)
Che Gelida Manina / La Boheme (Puccini)
Be not afeard / The Tempest (Hoiby)
RESUME
| OPERA / OPERETTA | ||
| 2022 | ||
| Des Grieux | Manon | Taconic Opera |
| Basilio | Le Nozze di Figaro | Maryland Lyric Opera |
| 2021 | ||
| Pang | Turandot | Maryland Lyric Opera |
| Nicias | Thais | Maryland Lyric Opera |
| 2019 | ||
| Tinca | Il Tabarro | Maryland Lyric Opera |
| Alfred | Die Fledermaus | Lyric Opera Studio Weimar (Germany) |
| 2018 | ||
| Nick | La Fanciulla del West | Maryland Lyric Opera |
| 2017 | ||
| D’Artagnan | Les Trois Mousquetaires | Phoenicia International Festival |
| Trin | La Fanciulla del West | Michigan Opera Theatre |
| Theodore “Laurie” Lawrence | Little Women | Michigan Opera Theatre |
| 2016 | ||
| Kron Prinz | Silent Night | Michigan Opera Theatre |
| El Remendado (Jose cover) | Carmen | Michigan Opera Theatre |
| Armored Man (Tamino cover) | The Magic Flute | Michigan Opera Theatre |
| Malcolm (Macduff cover) | Macbeth | Michigan Opera Theatre |
| Martin | The Tender Land | Michigan Opera Theatre |
| 2015 | ||
| B.F. Pinkerton | Madama Butterfly | Quisisana Resort |
| Don Jose’ | Carmen | New York Opera Exchange |
| Edgardo | Lucia di Lammermoor | New York Opera Exchange |
| Mayor (Albert cover) | Albert Herring | Bronx Opera |
| 2014 | ||
| Camille de Rosillon | The Merry Widow | Capitol City Opera |
| Camille de Rosillon | The Merry Widow | Opera Theater Pittsburgh |
| Nemorino | L’Elisir d’Amore | U.G.A. Opera Theater |
| 2013 | ||
| Wagner / Nereo | Mefistofele | New York Collegiate Chorale |
| E.T.A. Hoffman | Les Contes d’Hoffman | Martina Arroyo Foundation |
| Tamino | Die Zauberflote | U.G.A. Opera Theater |
| 2012 | ||
| Rodolfo | La Boheme | La Musica Lyrica |
| Frederick | The Pirates of Penzance | U.G.A. Opera Theater |
| 2011 | ||
| Gaston (Alfredo cover) | La Traviata | International Festival of the Aegean |
| Eisenstein | Die Fledermaus | U.G.A. Opera Theater |
| ORATORIO / CONCERT / RECITAL | 2022 | |
| Tenor Soloist | “The Many Sounds of Verdi”: (Radames (Aida) / Aldredo (La Traviata) / Don Carlo (Don Carlo) | Metropolitan Opera Guild |
| Tenor Soloist | “On Tour! Spring 2022”: Don Jose (Carmen) / Duke (Rigoletto) | Metropolitan Opera Guild |
| ORATORIO / CONCERT / RECITAL | 2018 | |
| Tenor Soloist | Beethoven “An die Freude” Symphonie No. 9, Op. 125 | Montgomery Philharmonic, MD |
| 2016 | ||
| Featured Soloist | On Wenlock Edge | Michigan Opera Theatre, MI |
| Tenor Soloist | Schubert Mass in Bb, D. 234 | Assumption Grotto Cathedral, MI |
| Tenor Soloist | Mozart Regina Coeli, K. 276 | Assumption Grotto Cathedral, MI |
| Tenor Soloist | Mozart Missa Brevis in C, K. 258 | Assumption Grotto Cathedral, MI |
| 2015 | ||
| Tenor Soloist | Composers Concert: Premier Works by Composer Michael Fiacc | Empire Opera, NYC |
| Tenor Soloist | Mozart Requiem, K. 626 | Orchestra Nepal, NYC |
| Tenor Soloist | Beethoven “An die Freude” Symphonie No. 9, Op. 125 | GAMAC, Anderson, SC |
| 2014 | ||
| Tenor Soloist | Handel Messiah | Archdiocesan Cathedral of the Holy Trinity, NY |
| Tenor Soloist | Saint-Saens Oratorio | Rockland County Choral Society, NY |
| Tenor Soloist | Gounod Messe sollennelle | Rockland County Choral Society, NY |
| COMPETITIONS / AWARDS | ||
| Faith Geier Artist | Collegiate Chorale / Faith Geier Artist Initiative | 2013 |
| Hoveland Opera Fellowship | University of Georgia | 2013 |
| Encouragement Award | Metropolitan Opera National Council Auditions; Georgia | 2012 |
| First Place Winner | Atlantic Music Club Scholarship Competition | 2012 |
| First Place Winner | U.G.A.S.O Concerto Competition | 2011 |
| YOUNG ARTIST PROGRAMS | ||
| Resident Artist | Lyric Opera Studio (Weimar, Germany) | 2019 |
| Resident Artist | Michigan Opera Theatre | 2016/2017 |
| EDUCATION | ||
| D.M.A. / Vocal Performance | University of Georgia; Athens | 2014 |
| M.M. / Vocal Performance | University of Georgia; Athens | 2013 |
| B.M. / Instrumental Performance (Double Bass) | Conservatory of Music; Purchase College S.U.N.Y. | 2009 |
CAREER INFLUENCES
Conductors: Louis Salemno, Olaf Storbeck, Karen Kamensek, David Charles Abell, Imre Pallo, Robert Lyall, Stephen Lord, Joseph Rescigno, Valerio Galli, James Meena
Directors: Damon Nestor Plumis, Lawrence Edelson, Kristine McIntyre, E. Loren Meeker
Vocal Coaches: John Norris, Martin Katz, Kathleen Kelly, Joan Krueger, Elaine Rinaldi, Kathryn Wright
Voice Teachers: William Stone, Ron Raines, Richard Leech, Frederick Burchinal
CRITICAL ACCLAIM
Die Fledermaus / Lyric Opera Studio (Weimar, Germany)
“Alfred, Joseph Michel Brent aus den USA, konnte schon mit seiner ersten Belcanto-Arie mit lyrischer Tenorstimme punkten und rührte damit das Arnstädter Publikum. Das „Täubchen, das enflattert ist, stille mein Verlangen…“ brachte Sofortapplaus.”
TRANSLATED: “Alfred, Joseph Michel Brent from the USA, scored with his first bel canto aria with lyric tenor voice and touched the Arnstädter audience. The “Täubchen, das enflattert ist, stille mein Verlangen…“ brought instant applause.”
-Larissa Gawritschenko und Thomas Janda
https://onlinemerker.com/arnstadt-die-fledermaus…/
The Merry Widow / Capitol City Opera (Pittsburgh)
“Tenor Joseph Brent was an unkempt Camille with splendid high notes.
– Pittsburgh Post-Gazette”
Little Women / Michigan Opera Theatre
“Joseph Michael Brent as Laurie, Jo’s close friend and unbeknownst suitor, brought a youthful exuberance and sweetness to his role.”
– Graham Mitchell, Encore Michigan
Les Contes d’Hoffman / Martina Arroyo Foundation
“Joseph Michael Brent had a pleasing instrument, although his enthusiastic presence and idiosyncratic costume seemed to recall a youthful version of the title character on Doctor Who. That said, he sang the big arias with sweet, compelling tone, hitting the right emotional notes in the Kleinzach song and the big duet with Antonia in Act II.”
Albert Herring / Bronx Opera
“The cover Albert, Joseph Michael Brent, sang Mayor Upfold with a penetrating sound and remarkably projected diction (the best of the entire cast).”
– David Shengold Opera News (Albert Herring NEW YORK CITY Bronx Opera 1/17/15)
The Magic Flute / Michigan Opera Theatre
” Tenor Michael Brent … demonstrated crisp comedic timing as Priests and Armored Men.”
– Opera News (The Magic Flute DETROIT Michigan Opera Theater 5/14/16)
Mefistofele / New York Collegiate Chorale
“Tenor Joseph Michael Brent handled supporting roles creditably.”
– David J Baker Opera News (Mefistofele NEW YORK CITY James Bagwell & American Symphony Orchestra, Collegiate Chorale | Carnegie Hall 11/6/13)
The Tender Land / Michigan Opera Theatre
“Tenor Joseph Michael Brent’s Martin was a sober companion to Top, played significantly older than the soontograduate Laurie. With only slight difficulty at the top of his substantial range Brent’s tone was always inviting and warm, although his delivery was sometimes too formal.”
– Jennifer Goltz-Tayolr Opera News (The Tender Land DETROIT Michigan Opera Theater 3/12/16)
Lucia di Lammermoor / New York Opera Exchange
“As Lucia’s ill-fated lover Edgardo, tenor Joseph Michael Brent sang well and exhibited all the requisite emotions except for one; we wanted to see some tenderness toward Lucia in their initial scene together to explain why she would have defied her family to pledge her love to him. He did much better in the scene in which he returns from France to find Lucia married to Arturo and bristled with anger.”
– http://www.vocedimeche.reviews/2015/03/adam-fieldson-john-viscardi-sarah.html
“Tenor Joseph Michael Brent made me weep too, his sound is beautiful, round and tender but also agile and powerful. Brent is truly a romantic hero, with a handsome stage presence and an expressiveness to match. He also worked great in his duets with both Lucia (Ah! Verranno a te sull’aure) and Enrico (O sole più rapido a sorger t’appresta). In his arias in the finale, Brent was heart breaking, particularly in Fra poco a me ricovero, when Egardo still thinks that Lucia betrayed him. He may have rushed a touch too much in Tu che a Dio spiegasti l’ali, but otherwise proved himself as a swooningly excellent tenor.”
“Brent’s Tu che a Dio spiegasti l’ali might have come out a bit rushed, but I nevertheless felt that the tempo gave the ending an appropriate sense of urgency. It is certainly one way to take Edgardo’s final spellbinding suicide aria, though it may not the most contemplative interpretation. I found it emotionally raw and true to the character in the throes of his big exit from this world. Though I admit I have a weak spot for the plaintive repetition of “bell’alma innamorata” with which the opera ends. I found Brent very confident with his diction. His Italian was very good as was the sound of his voice, which is on the middle to higher end of the tenor spectrum but still remains very manly. He owned his every move in his delivery of this most moving of finales.”
– Both from https://allegriconfuoco.blogspot.com/2015/03/a-mad-bride-her-lover-and-evil-brother.html (Edgardo – Lucia 2015)
Don Giovanni / Maryland Lyric Opera
“Tenor Joseph Michael Brent (who also holds a doctoral degree) … made [his] appearance in the Don Giovanni excerpts. Mr. Brent delivered Don Ottavio’s aria of adoration of Donna Anna with sonorous brilliance. I though Mr. Brent was good when first I heard him a year ago. He is now even better, a career worth following. Kudos to him and to the MDLO team.”
http://operagene.com/…/mdlos-an-evening-of-mozart-how.
Thais / Maryland Lyric Opera
Also from operagene ” Tenor Joseph Michael Brent was very convincing as the epicurean Nicias. Mr. Brent sang impressively in his role and seemed very natural on stage.” (Nicias – Thais – MDLO 2020)
